They don't want to know it. They think all blacks are like the big-mouth agitators in town. An d Va n der Vyver's face, in the photographs, strangely opened by distress?everyone in the district remembers Marais Van der Vyver as a little boy who would go away and hide himself if he caught you smiling at him, and everyone knows him now as a man who hides any change of expression round his mouth behind a thick, soft moustache, and in his eyes by always looking at some object in hand, leaf of a crop fingered, pen or stone picked up, while concentrating on what he is saying, or while listening to you. It just goes to show what shock can do; when you look at the newspaper photographs you feel like apologising, as if you had stared in on some room where you should not be.
There will be an inquiry; there had better be, to stop the assumption of yet another case of brutality against farm workers, although there's nothing in doubt?an accident, and all the facts fully admitted by Van der Vyver. He made a statement when he arrived at the police station with the dead man in his bakkie.1 Captain Beetge knows him well, of course; he gave him brandy. He was shaking, this big, calm, clever son of Willem Van der Vyver, who inherited the old man's best farm. Th e black was stone dead, nothing to be done for him. Beetge will not tell anyone that after the brandy Va n der Vyver wept. He sobbed, snot running onto his hands, like a dirty kid. Th e Captain was ashamed, for him, and walked out to give him a chance to recover himself.
Marais Va n der Vyver left his house at three in the afternoon to cull a buck from the family of kudu2 he protects in the bush areas of his farm. He is interested in wildlife and sees it as the farmers' sacred duty to raise game as well as cattle. As usual, he called at his shed workshop to pick up Lucas, a twenty-year-old farmhand who had shown mechanical aptitude and whom Van der Vyver himself had taught to maintain tractors and other farm machinery. He hooted, and Lucas followed the familiar routine, jumping onto the back of the truck. He liked to travel standing up there, spotting game before his employer did. He would lean forward, braced against the cab below him.
Van der Vyver had a rifle and .300 ammunition beside him in the cab. The
rifle was one of his father's, because his own was at the gunsmith's in town.
Since his father died (Beetge's sergeant wrote 'passed on') no one had used
the rifle and so when he took it from a cupboard he was sure it was not loaded.
His father had never allowed a loaded gun in the house; he himself had been
taught since childhood never to ride with a loaded weapon in a vehicle. But
this gun was loaded. On a dirt track, Lucas thumped his fist on the cab roof
three times to signal: look left. Having seen the white-ripple-marked flank of
a kudu, and its fine horns raking through disguising bush, Va n der Vyver drove
rather fast over a pot-hole. Th e jolt fired the rifle. Upright, it was pointing
straight through the cab roof at the head of Lucas. Th e bullet pierced the roof
and entered Lucas's brain by way of his throat.
That is the statement of what happened. Although a ma n of such standing
in the district, Va n der Vyver had to go through the ritual of swearing that it
was the truth. It has gone on record, and will be there in the archive of the
local police station as long as Va n der Vyver lives, and beyond that, through
1. Pickup truck. 2. Large African antelope. The males have long, spirally twisted horns.
.
THE MOMENT BEFORE THE GUN WENT OFF / 2577
the lives of his children, Magnus, Helena and Karel?unless things in the country get worse, the example of black mobs in the towns spreads to the rural areas and the place is burned down as many urban police stations have been. Because nothing the government can do will appease the agitators and the whites who encourage them. Nothing satisfies them, in the cities: blacks can sit and drink in white hotels, now, the Immorality Act3 has gone, blacks can sleep with whites. . . . It's not even a crime any more.
Van der Vyver has a high barbed security fence round his farmhouse and garden which his wife, Alida, thinks spoils completely the effect of her artificial stream with its tree-ferns beneath the jacarandas.4 There is an aerial soaring like a flag-pole in the back yard. All his vehicles, including the truck in which the black man died, have aerials that swing their whips when the driver hits a pot-hole: they are part of the security system the farmers in the district maintain, each farm in touch with every other by radio, twenty-four hours out of twenty-four. It has already happened that infiltrators from over the border have mined remote farm roads, killing white farmers and their families out on their own property for a Sunday picnic. The pot-hole could have set off a land-mine, and Van der Vyver might have died with his farm boy. When neighbours use the communications system to call up and say they are sorry about 'that business' with one of Van der Vyver's boys, there goes unsaid: it could have been worse.
It is obvious from the quality and fittings of the coffin that the farmer has provided money for the funeral. And an elaborate funeral means a great deal to blacks; look how they will deprive themselves of the little they have, in their lifetime, keeping up payments to a burial society so they won't go in boxwood to an unmarked grave. The young wife is pregnant (of course) and another little one, wearing red shoes several sizes too large, leans under her jutting belly. He is too young to understand what has happened, what he is witnessing that day, but neither whines nor plays about; he is solemn without knowing why. Blacks expose small children to everything, they don't protect them from the sight of fear and pain the way whites do theirs. It is the young wife who rolls her head and cries like a child, sobbing on the breast of this relative and that.
All present work for Van der Vyver or are the families of those who work; and in the weeding and harvest seasons, the women and children work for him, too, carried?wrapped in their blankets, on a truck, singing?at sunrise to the fields. The dead man's mother is a woman who can't be more than in her late thirties (they start bearing children at puberty) but she is heavily mature in a black dress between her own parents, who were already working for old Van der Vyver when Marais, like their daughter, was a child. The parents hold her as if she were a prisoner or a crazy woman to be restrained. But she says nothing, does nothing. She does not look up; she does not look at Van der Vyver, whose gun went off in the truck, she stares at the grave. Nothing will make her look up; there need be no fear that she will look up; at him. His wife, Alida, is beside him. To show the proper respect, as for any white funeral, she is wearing the navy-blue-and-cream hat she wears to church this summer. She is always supportive, although he doesn't seem to notice it; this coldness and reserve?his mother says he didn't mix well as a child?she
