Sunday, January 30, 2022

Memory Project: Rhodesian Houseboys

 



Every white family in Rhodesia could afford at least one houseboy and often a gardenboy as well. They lived on the property and received rations in the form of mealie-meal, meat, bread and jam, tea and sugar. They were warned that pilfering would result in instant dismissal and were paid £1.10 a month. We had several houseboys over the eight years we were in Gwelo but I can only remember the three who lasted the longest: Samuel, Joseph and Samson. Their duties included washing up, sweeping, cleaning and floor polishing. As well as cooking, my mother did the washing in a washing machine that had a manual wringer consisting of two rubber rollers and a crank handle. The houseboy did the ironing, which was his most arduous task. Every item of laundry had to be ironed as a precaution against tropical diseases spread by insect larvae.

The houseboy’s staple food was mealie-meal. It was prepared as a stiff porridge known as sadza, and was cooked in a pot over an open fire on the ground in front of his kaia. He would also cook some meat to go with the sadza. This was poor quality stewing beef cut into bite-sized cubes and sold by butchers as boy’s meat. My mother kept the boy’s meat and the pet mince on the same shelf in the fridge. The mince was of an even worse quality, consisting mostly of floor sweepings. Mick, our mixed breed excuse for an Alsatian, was obliged to eat it raw in uncooked mealie-meal porridge.

I enjoyed sitting at the houseboy’s fireside watching him prepare his meal and eat it, as did Jean when she was a little older. A large pinch of sadza was taken from the pot, compressed and shaped between the fingers and then dipped in the meat pot to soak up some gravy. When I was allowed a taste I found the meat tough but the sadza was delicious.

In 1902 Pass Laws were enacted requiring all African males over the age of 14 to be registered with the authorities and issued with a pass, known in Fanagalo as a stupa. By the 1950’s this law was being applied rigidly in order to control and restrict the movement of natives. It enabled the Europeans to maintain their dominance over the indigenous population and exploit a large source of cheap labour. A houseboy could not find employment without an up-to-date stupa. Some employers would confiscate the stupa in order to deter the ‘boy’ from wandering and getting up to mischief, knowing that the police would come down hard on any black man unable to produce a valid pass. This type of treatment caused resentment that was growing steadily in the late 1950’s. The first Gwelo riots broke out in 1960.

Our houseboy at the time was Samuel; a young man who my parents agreed was unreliable and lazy. One Saturday afternoon he asked permission to go into town, promising to be back by nightfall. The following morning he was nowhere to be found and we learned that the ‘munts’ had been rioting in the Location overnight. The police had opened fire with buckshot but there had been no fatalities. On Monday morning there was still no sign of Samuel.  Then, at around midday, he was seen standing at the kaia supported by another man. One of his knees was bloodied and badly swollen. He was clearly in a great deal of pain and wanted to be taken to the hospital. My mother phoned my father, who was working for the CMED (Central Mechanical Engineering Department) at the time, and he hurried home and called the police. A police Landrover soon arrived and Samuel was helped into the back. Before driving off the cop told my father, “Don’t worry, I’ll tell the doctors not to use anaesthetic.” It was the last we saw of that ‘lazy devil,’ Samuel.

To view my longer work as an author, you can find me on Smashwords here.

Tuesday, January 11, 2022

Desert Island Discs


When I arrived on Gough Island in 1980, I had seven LPs in my luggage. In the Gough House living/dining room was a radio and a hi-fi with turntable and speakers. Not having brought my own sound system with me, as had the other team members, I was obliged to listen on the equipment in the base. 

My reclusive disposition made me resentful of any interruption to my listening experience. To minimize the chances of having to exchange small talk with fellow humans I chose to get up at 5am, make haste to the kitchen and prepare breakfast, and then eat it in leisurely solitude while listening to my records. If one of the met boys or the radio operator happened to pass through, I was taciturn and monosyllabic in response to their greetings, making it clear that I had no wish to engage in conversation.

In the course of the year I must have listened to each of the records at least twenty times, and they became imprinted on my memory. After forty years they remain indelibly familiar, if not immediately identifiable when I happen to hear one of them playing on the radio. 

None of my six companions on the island showed much interest in classical music and, for the most part, I was also indifferent to what they enjoyed. I did, however, develop an appreciation of reggae after overhearing Bob Marley coming from Thys’s room at full volume on numerous occasions. I was also introduced to Van Morrison, for which I am most thankful, but I can’t remember who used to play him.

The only live music on Gough was provided by Peter Stockwell and Ray Holland, who sometimes played their guitars and sang together in the living room.


Here is a list of the desert island discs that I still possess but have not played since my old turntable gave up the ghost more than a decade ago:

JS Bach’s Brandenburg Concerti Nos 1, 2 and 3 performed by the Wurttenberg Chamber Orchestra under Jorg Faerber.

Hector Berlioz’s Symphonie Fantastique performed by the Orchestre de Paris conducted by Daniel Barenboim.

Chopin’s Piano Concerto No 1 and Liszt’s Todenttanz performed by Alexander Brailowsky with the Philadelphia Orchestra conducted by Eugene Ormandy.

Mozart’s Piano Concertos No 20 K466 and No 27 K 595 performed by Clifford Curzon with the English Chamber Orchestra under Benjamin Britten.

Mahler’s Fourth Symphony performed by the New York Philharmonic under Bruno Walter.

Mozart’s Flute Concerto No 1 and Concerto for Flute, Harp and Orchestra with James Galway, Frits Helms and Andreas Blau and the Berlin Philharmonic conducted by Herbert von Karajan.

Beethoven’s Violin Concerto in D Major Opus 61 performed by Zino Francescatti with the Columbia Symphony Orchestra under Bruno Walter.

To view my longer work as an author, you can find me on Smashwords here.

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