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51 pages 1 hour read

Nadine Gordimer

July's People

Fiction | Novel | Adult | Published in 1981

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Themes

White Liberalism and Hypocrisy Under Apartheid

Roughly 80% of South Africa’s white population supported the segregationist policy of apartheid, a cornerstone of the country’s minority-rule regime, while Gordimer was writing her book. The remaining 20% opposed it to various degrees: Some took bold political action such as forming opposition parties like the Progressive Political Party. Others, though they disagreed with apartheid’s racist, exploitative policies, didn’t let their progressivism interfere with their material comforts or professional success. Gordimer, a fiercely committed anti-apartheid activist, felt particular scorn for such “weak-tea liberals,” who she felt wanted it both ways: priding themselves on their progressive, egalitarian opinions while giving up none of the financial and social advantages of belonging to the white ruling class. In the hypothetical scenarios of July’s People, which follow the violent overthrow of the white regime, Gordimer’s novel forces two representatives of this liberal but hypocritical subset (Bam and Maureen Smales) to delve into their past behaviors under apartheid—along with their true feelings about themselves, each other, and the subject people they always claimed to support.

Born to white privilege, Bam and Maureen rarely questioned the liberal probity of their sentiments and actions. Bam, a descendent of the original Dutch colonizers of the region, built a lucrative career as an internationally known architect, designing buildings for the government and for important figures in the white-dominated financial sector, such as a bank accountant, who in gratitude passed along privileged information to Bam about a banking crisis. Maureen, the daughter of the foreman of one of the Western Areas’ extensive gold mines, never questioned the servitude of the Black people she knew as long as they seemed content. For instance, as a schoolgirl, she allowed her house servant, Lydia, whom she considered a friend and a dominant figure in her childhood, to carry her book satchel on her head; only years later, upon seeing a photo of the two of them in a book that framed their dynamic as exploitative, did she feel any qualms.

As “liberal” adults, Bam and Maureen make half-hearted efforts to “slough privilege” by flirting with radical politics but are “not believed,” perhaps because others can see how attached they are to their success and comfort, which ultimately flow from the regime’s brutally exclusionary policies. After all, the Smaleses love buying things: “[I]t seemed nothing else could excite them [as much as] a new possession” (6). Bam and Maureen consider their longtime servant, July, grateful (even indebted) to them because they’ve been relatively generous, giving him his own bathroom and allowing him to take a mistress, which many other white people would forbid. They feel magnanimous in letting him visit his wife and family every two years. However, they don’t provide him with a sitting room, lest other Black people (unemployed by them and therefore suspect, in their worldview) might congregate there. Nevertheless, they know that other white people treat their servants (and Black people in general) more harshly and therefore congratulate themselves on their benevolence.

After the Black uprising upends their lives, making them entirely dependent on July, who gives them his mother’s hut to hide in, they reveal the arrogance and sense of entitlement that has always lurked behind their sensitive, socially conscious self-image. Discovering that July took small, almost valueless items (like an old pair of scissors and a knife-grinder) from their house in Johannesburg, they wring their hands over his deceit and ingratitude. When July takes their truck to the store to buy things for them without first asking permission, they frantically speculate that he plans to steal that as well. (Shortly before this, without any guilt or hypocrisy, Maureen admits to stealing malaria pills from a pharmacy.)

Though July’s family shares its meager food with the Smaleses without complaint, Bam and Maureen can’t move beyond their attachment to their material possessions, all of which they owe to the systemic exploitation of Black people like July. The Smaleses’ obsessing over scissors, cups, and shotguns ignores the centuries-long colossal, historical theft on which their inherited wealth was built. The Smaleses have deluded themselves that they can erase this injustice, at least on a personal level, by speaking “respectfully” to their servants and by voting for liberal politicians. However, Gordimer was always outspoken in her view that sharing property was the litmus test by which South African liberals must prove their progressive bona fides, and, despite all their intelligence and fine intentions, Bam and Maureen utterly fail this test.

The Unraveling of a Marriage Under Pressure

In its unsparing dissection of a white, upper-middle-class marriage under duress, July’s People suggests that many seemingly stable relationships are actually fragile constructs rooted in convenience, routine, and willful blindness. Bam and Maureen have been married for more than 15 years and seem ideally matched, sharing the same political views, intellectual interests, and habits of leisure. They have three children and for years enjoyed a comfortable, if not luxurious, life in a seven-room house in a Johannesburg suburb, with a live-in servant and two vehicles, one for the city and another for camping and hunting trips. Bam was a successful architect who attended prestigious conventions, and Maureen occupied herself happily with childrearing and part-time work.

However, after a brutal civil war shatters South Africa’s entrenched system of white hegemony, the Smaleses accept an offer from their former servant, July, to shelter in a primeval mud-hut in a remote village (rather than risk trying to leave the country). Thus, Bam and Maureen lose the illusions, comforts, and frames of reference that once enabled their loving bond. Lacking their privacy, cleanliness, useful work, and physical attractiveness, they soon have trouble recognizing each other as the boon companions of their old life: “Her. Not ‘Maureen.’ Not ‘his wife.’ The presence in the mud hut, mute with an activity of being, of sense of self he could not follow because here there were no familiar areas [or] familiar entities that could be shaping it” (105). Maureen sometimes longs to embrace the Bam she once knew, “not the one who persist[s] in his name” (93).

The novel suggests that the Smaleses’ upscale surroundings and complacency, and the power they each wielded over the symbiotic routines that fed their comfort and success, shaped not only their relationship but also their sense of self. Powerless, resourceless, and idle, they begin to see each other in a new, harshly reductive light. As the days pass, the once urbane, well-groomed couple dwindles in the hut’s humid squalor, becoming a strange, uncomfortable presence, often little more than a disquieting mass of bodily smells and imperfections. Maureen can no longer wash her hair or shave her body and finds for the first time that she “smell[s] bad between her legs” (9). Bam, no longer the busy, confident architect, devolves into a balding, thin-skinned phantom, a “sad, intelligent primate fingering the lock on his bars” (50).

The Smaleses’ three children are “locked in an endless game of torturing each other” (43), but that phrase could apply equally to Bam and Maureen. As their sense of futility and suspicions about their servant/host, July, escalate, they increasingly lash out at each other, dredging up grievances from the dead past. Maureen accuses Bam of embarrassing her in public by boasting about his use of French at an international convention, and he responds by calling her a “coward” who’s jealous of his prestige. He blames her for not sanctioning his plan to move to Canada while there was still time, and she in turn savages him for insisting that they flee to July’s village instead of “sticking it out.” Bam and Maureen’s inability to save or succor each other feeds a vicious cycle; instead of a comforting presence grounded in past happiness, each exudes only stark reminders that the past wasn’t what they thought it was: “With ‘her’ there was no undersurface of recognition; only moments of finding each other out” (105). Seeing their own hypocrisies and failures mirrored in each other, the two rapidly drift apart.

In the last pages, Bam takes over Maureen’s customary role of raising the children, and she abandons him, fleeing desperately toward a helicopter that seems to offer escape from the ever-narrowing prison that her life has become. The unraveling of their relations, like everything else in Gordimer’s book, has a political dimension. The self-delusion of the Smaleses’ comfortable life in South Africa’s white-supremacist state has never (until now) permitted them to see themselves or each other clearly: Their marriage, like that complacent life, was a lie.

The Complexities of Benevolence and Dependency

The title that Gordimer chose for her dystopian novel hints at an ambiguity that runs throughout her story. In this tale of white hegemony, revolution, and reversed fortunes, “July’s people” conflates the complex roles of master and servant, patron and supplicant, antagonist and would-be friend.

To Maureen and Bam, their bond with their longtime Black house servant, July, is a mutually amicable and respectful arrangement, almost like a friendship or familial relationship. As Maureen tells July midway through the novel, “What were you afraid of? You could always tell me. […] I got on your nerves. So, what. You got on mine. That’s how people are” (70-71). Here, Maureen’s inclusive use of the word “people” implies an equivalence between them, a level playing field on which each could make demands of the other, whether service related or emotional. This presumption draws anger from the (usually reserved) July, who bluntly reminds her of the true basis of their relationship: “African people like money” (71).

As Maureen knows, under apartheid, job opportunities for Black people were extremely limited, and the law forced July to have the Smaleses regularly stamp his passbook for him to remain in the city. He was entirely dependent on them for the money he sent home to his impoverished family, whom he could see only every two years. (Partly responsible for raising the Smaleses’ children, he has had almost no contact with his own, all of whom were born in his absence.) Like many Black servants, July settled strategically into a role, a mask of contentment and belongingness that concealed his true self, whose “measure […] was taken elsewhere and by others” (152). Maureen’s illusion that she had a “relationship” with July based on mutual respect and affection was entirely self-serving, allowing her and Bam to flatter themselves that they were a shining exception to their country’s systemic racial exploitation.

Once civil war has reversed their roles and the Smaleses find themselves completely dependent on July’s charity, they discover that he previously took insignificant items from their house, which they regard as a personal betrayal. These little losses remind them of their greater loss, for which Black people were also responsible, and behind their outrage lurks the delusion that they were always magnanimous toward July and therefore deserve his gratitude (and, by extension, that of his people). His selflessness in leading them to shelter, they believed, was merely repayment for their years of generosity. Now, these petty “thefts” lead them to question his motives, making them wonder if he’s “gloating” about his new power over them. It doesn’t occur to them that he may be hiding (and feeding) them not because he owes them anything or feels any real affection for them but because it’s the right thing to do (that is, out of true benevolence, not their own, self-serving version).

In reality, by helping the Smaleses, July is defying the wishes of his own family, for whom the white family’s presence isn’t only inconvenient but life-threatening. The Smaleses have become a burden to him, partly because they refuse to see that they have no true claim on his affection or loyalty. Thus, in his arguments with Maureen, July refuses to enable her delusions of friendship and equality: He fends off her overtures with his houseboy’s pidgin English, commenting, “Me, I’m your boy” (14), and finally—dismissively—drops English entirely, berating her in his own tongue. This devastates Maureen, precipitating her emotional collapse.

Gordimer’s title (July’s People) suggests the nebulous, shifting nature of July’s roles and responsibilities, as befits a subject people in a time of upheaval. The Smaleses are first his masters (his “people”) and then his dependents, almost his possessions. Nonetheless, as often in South Africa, the white family’s needs take precedence, to some degree, over those of July’s own “people”: his family and his race in general. The tragedy of the Smaleses is that whatever they may claim, they can’t stop thinking of July as a servant who must always accommodate them—even by speaking to them in a manner of their own choosing.

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