The Healing Land: A Kalahari Journey

THE HEALING LAND
A KALAHARI JOURNEY
Rupert Isaacson

Copyright

This edition first published in 2002

First published in Great Britain in 2001 by

Fourth Estate

1 London Bridge Street,

London SE1 9GF

www.4thestate.co.uk

Copyright © Rupert Isaacson 2001

The right of Rupert Isaacson to be identified as the author of this

work has been asserted by him in accordance with the Copyright,

Designs and Patents Act 1988

A catalogue record for this book is available from the

British Library.

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Dedication

For the Ancestors

Epigraph

Circling, circling …

I have entered the airy, dancing lightness of love.

Rumi

Contents

Cover

Title Page

Copyright

Dedication

Epigraph

Map

Part One: Ancestral Voices

1 Stories and Myths

2 Lessons in Reality

3 Under the Big Tree

Part Two: The Mantis, The Mouse and The Bird

4 Regopstaan’s Prophecy

5 A Human Zoo

6 Old Magic, New Beliefs

7 Trance Dance at Buitsevango

8 Into the Central Kalahari

Part Three: The Good Little Donkeys

9 Revelations at the Red House

10 The Same Blood

11 Dream and Disillusion

12 The Leopard Man

13 Dawid Makes a Request

14 Bushman Politics

15 Off to See a Wizard

16 The River of Spirits

17 What Happened After

Glossary

Acknowledgements

About the Author

About the Publisher

Map

PART ONE ANCESTRAL VOICES

1 Stories and Myths

In the beginning, so my mother told me, were the Bushmen – peaceful, golden-skinned hunters whom people also called KhoiSan or San. They had lived in Africa longer than anyone else. Africa was also where we were from; my South African mother and Rhodesian father were always clear on that. Though we lived in London, my sister Hannah and I inhabited a childhood world filled with images and objects from the vast southern sub-continent. Little Bushman hand-axes adorned our walls; skin blankets, called karosses and made from the pelts of rock hyraxes,^* hung over the sofa; Bushman thumb pianos, made from soft, incense-scented wood, with metal keys that went ‘plink’ when you pressed down and then released them, sat on the bookshelves next to my mother’s endless volumes of Africana. There were paintings by my maternal grandmother Barbara: South African village scenes of round thatched huts where black men robed in blankets stood about like Greek heroes. Next to them hung pictures by my own mother, of black children playing in dusty mission schoolyards, of yellow grass and thorn trees. In my earliest memory, these objects and my mother’s stories forged a strong connection in my mind between our London family and the immense African landscapes the family had left behind.

I remember my mother playing an ancient, cracked recording of a Zulu massed choir and trying to show me how they danced. ‘Like this, Rupert,’ she said, lifting one leg in the air and stamping it on the floor several times in quick succession. ‘They spin as they jump, so it looks as if they’re hanging in the air for a second before they come down, like this, watch.’ She and I would stamp, wheel and jump, a small blonde woman and a smaller blond boy trying to imitate the lithe warriors of her memory.

When I was about five or six years old, my cousin Harold, a tall, bearded, Namibian-born contemporary of my father’s who had settled in London as a doctor, gave me a small grey stone scraper – a sharply whittled tool that sat comfortably in my child’s hand. It had been found in a cave in the Namib Desert. ‘This’, he told me, ‘might have been made thousands of years ago. But it could also be just a few hundred years old, or perhaps even more recent than that; there are Stone Age people living in Africa right now who still use tools like this.’ I closed my hand around the scraper, marvelling at its smooth, cool surface. ‘Is it worth a lot of money?’ I asked. The big man laughed. ‘Perhaps,’ he said, ‘but maybe it’s more valuable even than money.’

He showed me a glossy coffee-table book, illustrated with colour photographs of Bushmen. They were small and slender, naked but for skin loincloths, and carried bows, chasing antelope and giraffes across a flat landscape covered with waist-high grass. They had slanted, Oriental-looking eyes, and whip-thin bodies the colour of ochre. The women, bare-breasted, wore bright, beaded headbands and necklaces of intricate geometric patterns. According to my cousin, they were a people who lived at peace with nature and each other, whose hunting and tracking skills were legendary and who survived in the driest parts of the desert.

I put the scraper among my treasures – a fox’s skull, a dried lizard, the companies of little lead soldiers, a display of pinned butterflies. Occasionally, in quiet moments, I would take it out, hold it and imagine scraping the fat from a newly flayed animal skin.

I remember, too, my mother reciting this hymn, written down in the nineteenth century, recorded from Bushmen on the banks of South Africa’s Orange River. ‘Xkoagu’, my mother read, pronouncing the ‘Xk’ as a soft click:

Xkoagu, hunting star,

Blind with your light the springbok’s eyes

Give me your right arm

and take my arm from me

The arm that does not kill

I am hungry

My mother knew the power of language and made sure that, though we lived in England and knew and loved its knights and castles, green woods and Robin Hoods, we also felt her birthplace moving in us just as she did.

Around this time another cousin came to stay, Frank Taylor, a childhood playmate of my mother’s. He lived, she told us, on the edge of the great Kalahari, where the Bushmen lived. He had brought a small bow and arrow, which I was encouraged to try. I set one of the pointed shafts to the taut sinew of the bowstring and, at a nod from the grown-ups, let fly at the stairs. The arrow stuck, quivering in the wood. With my head full of longbows and Agincourts, I was impressed by its potentially lethal power. But this bow and arrow, said my mother, was not a weapon of war. It was for hunting the great herds of antelope that thronged the Kalahari grasslands.

Kalahari – what a beautiful word. It rolled off the tongue with satisfying ease, seeming to imply distance. A great wilderness of waving grasses, humming with grasshopper song under a hot wind and a sky of vibrant blue.

My father was less reverent about Africa than my mother. Born in Rhodesia (now Zimbabwe), he had been an asthmatic Jewish intellectual growing up among tough, bellicose Anglo and Afrikaans boys. He had been bullied right through his childhood, and had quit Africa for Europe at the first opportunity. He would imitate, for our amusement, the buttock-swinging swagger of his old school’s rugby First Fifteen as they marched out onto the field, arranging his moustachioed, black-eyebrows-and-spectacles face into a parody of their arrogant insouciance. All his stories tended to the ridiculous. There was the MaShona foreman of the night-soil collectors, who came round each day on a horse and cart to empty the thunder-boxes of the wealthy whites and called himself ‘Boss Boy Shit’; the adolescent house-boy whose balls and penis used to hang, fruit-like, from a hole in his ragged shorts and who, when asked by my father what the fruit was for, demonstrated by upending the bemused house cat and attempting to jam his penis into its impossibly small anus. The cat had twisted and sunk in its claws: deep, causing the house-boy to run off howling.

My father’s tales, like my mother’s myths, contrasted tantalisingly with the overwhelming ordinariness of our London life. My sister and I, avid listeners, tried to learn the Afrikaans rugger songs like ‘Bobbejaan klim die Berg’ (‘The Baboon climbed up the mountain’), which we quickly corrupted into ‘Old baba kindi bear’. The song’s chorus – ‘Vant die Stellenbos se boois kom weer’ (‘the boys of Stellenbosch will come back again’ – a reference to the Boer War) became ‘for the smelly, bossy boys, come here’. Who, we wondered, were these smelly, bossy boys? What was a kindi bear? How strange and mysterious was this land that our parents came from.

At Christmas my father’s father, Robbie, would visit from Rhodesia where he ranched cattle and farmed tobacco – a feudal baron in a still feudal world. He brought us small gifts – leopards and spiral-horned kudus carved from red African hardwoods. My grandfather presented Africa as somewhere real, a place where actual lives were lived. I would listen to him and my parents argue across the dinner table, bringing the continent into sharper focus. The talk, back then, was mostly of the war of independence then raging in Rhodesia; my grandfather told how the Munts^* had attacked his farm and shot his farm manager, burning crops, rustling cattle into the night. When he spoke, Africa came across as a hard, violent place and, with his stern voice, lined face and disapproving stare, he seemed to carry something of this with him as he moved about our London house.

An endless succession of white Africans passed through our lives. They talked incessantly of the land of their birth. There were stories about the barren, blasted Karoo, where only dry shrubs grew, stunted by summer drought and bone-cracking winter frost. And the jungly, mosquito-ridden forests of the Zambezi River where lions and buffaloes, hippos and elephants, crocodiles and poisonous snakes lurked around every corner. Up in the high, cold mountains of Lesotho, the landscape resembled Scotland and was inhabited by proud people who wore conical straw hats, robed themselves in bright, patterned blankets and rode horses between their stony, cliff-top villages. I learned of the rolling grasslands around Johannesburg, known as the ‘highveld’, which stretched to a sudden escarpment that fell away to the game-rich thorn-scrub, the ‘lowveld’ or ‘bushveld’. Long before I ever went to southern Africa, its names and regions had been described to me so many times that I could picture them in my mind’s eye, the landscapes flowing one into the other across the great sub-continent, each more beautiful than the last.

I later came to realise that these eulogies to Africa’s natural beauty arose partly from guilt: the speakers came from families whose forebears had, almost without exception, carved out their wealth in blood. Many of these educated descendants of the colonial pioneers were haunted by the feeling that their ancestors should somehow have known better. Yet they also feared the black peoples whose freedom they so longed for, whose oppression by their own kind caused them such shame. They knew that black resentment of white drew little distinction. They were all too familiar with the violent warrior traditions endemic to most black African cultures, and lived in terror of the great uprisings that must one day inevitably come. For them, the myth of a pure, uncomplicated Africa contrasted favourably with the Africa they actually knew. It was a sense of this that they, no doubt unconsciously, imparted to us as wide-eyed London children, and which resonated deeply in my magic-starved mind. Only years later did I realise that, with the exception of cousin Frank, most of these white African visitors knew little or nothing of the bush, let alone the Bushmen. For the most part, they were urbanites much more at home in European cities than out on the dry, primordial veld.

When I was eight and Hannah eleven, our parents took us to Rhodesia to visit my grandfather Robbie. From the moment we stepped off the plane I found the place as seductively, intensely exciting as all the stories had led me to expect. ‘Take off your shoes,’ my mother said, as we pulled up at Robbie’s house, set in a landscaped garden in a white suburb of the capital Salisbury (now Harare). ‘You’re in Africa now and kids go barefoot.’ Hannah and I did as she bid, despite a dubious look at the green, irrigated lawn, which was crawling with insect life. When my grandfather’s manservant, Lucius, opened the front door, a small, cream-coloured scorpion dropped from the lintel. Lucius whipped off his shoe and killed it, then presented me with the corpse as a trophy. I was thrilled. That night the chorus of frogs in the garden was deafening. My father took us out into the darkness with a torch and at the edge of one of my grandfather’s ornamental ponds showed us frogs the size of kittens.

The war for independence was still being fought at that time. Out at Robbie’s farm a high-security fence ran all the way around the homestead, and the white men carried handguns on their hips (things were later to get so bad that my grandfather hired AK-47-wielding guards and an armoured car to patrol his vast territory). We saw his herds of black Brangus cattle, his tobacco fields and drying houses. At night the drums in the farmworkers’ compound thundered till dawn, while my sister and I lay in our beds and tried not to think about the big spiders that sat on the walls above our sleepless heads.

On a bright, hot morning, after a particularly loud night of drumming, two ingangas (witch doctors) performed a ceremony in the compound. Despite having been born in Africa, none of my family could tell us quite what was going on, but there was frightening power in the singing of the assembled black crowd, in the maniacal dancing of the ingangas, whose faces were hidden by fearsome, nightmare masks. It made me shiver.

At a game reserve near the ruins of Great Zimbabwe,^* we visited a friend of the family, a zoologist studying crocodiles in the Kyle River. He had caught four big specimens – between twelve and fifteen feet long – and had penned them in a special enclosure built out into the muddy river. Having asked if we’d like to see them, he guided us into the pen, telling us to stay close to the fence and not approach the great, murderous lizards where they lay half in, half out of the shallows.

For some reason I did not listen and, as the man was explaining something about crocodile behaviour to my parents, I walked towards the beasts for a closer look. There was a quick, low movement from the water and suddenly I was being dragged backwards by my shirt collar, loud shouting all around. ‘He almost got you!’ panted the zoologist, who had saved me by a whisker. Forever afterwards, my mother would tell the story of how she almost lost her son to a crocodile.

Sometime towards the end of that month-long trip, we went to look at a cave whose walls were painted with faded animals and men – exquisitely executed in red, cream and ochre-coloured silhouettes. The animal forms were instantly recognisable, perfectly representing the creatures we had just seen in great numbers in the game reserves. Standing there in the cool gloom, I picked out lyre-horned impala, jumping high in front of little stickmen with bows and arrows, kudu with great spiralled horns and striped flanks, giraffes cantering on legs so long they had seemed – when we had seen them in real life – to gallop in slow motion. Paintings like these, my mother told us, could be found in caves all over southern Africa. Some were tens of thousands years old. Others were painted as recently as a hundred years ago. But no one, she said, painted any more.

‘Why not?’ I asked.

‘Because the people were all killed,’ answered my mother. ‘And those not killed fled into the Kalahari Desert.’

She told us how, sometime in the middle of the last century, a party of white farmers in the Drakensberg mountains of South Africa had gone to hunt down the last group of Bushmen living in their area. Having seen all the game on which they had traditionally relied shot out, the Bushmen had resorted to hunting cattle and the farmers had organised a commando, or punitive raid against them. After the inevitable massacre up in the high passes, a body was found with several hollowed-out springbok horns full of pigment strapped to a belt around his waist. ‘He was the last Bushman painter,’ said my mother.

Laurens van der Post, whose writings in the 1950s established him as a Bushman guru, included this poignant story in his Lost World of the Kalahari. In his version it is one of his own forebears who went out on a similar raid, sometime in the late nineteenth century, in the ‘hills of the Great River’. Someone in his own grandfather’s family (van der Post’s words), having taken part in the massacre, discovers the body of the dead artist. Over the years I have encountered this story again and again, from the mouths of liberal-minded whites and in books, each time with a different location and twist. Perhaps all of them are true. Like so much that concerns the Bushmen and the great, wide land that used to be theirs, the story has become myth – intangible, impossible to pin down. Irresistible to a small boy of eight.

Back in the grey, drearily ordinary city of my birth, I found that the bright continent had worked its magic on me. I became more curious about our origins, about the dynastic lines going down the generations, and began to quizz my parents on more detail.

Though from vastly different origins and cultures, both sides of the family had gone at the great continent like terriers; yapping, biting and worrying away at it until they had established themselves and become white Africans. On my father’s side were the Isaacsons and Schapiros, poverty-stricken Lithuanian Jews who had emigrated from the small villages of Pojnewitz and Dochschitz (pronounced Dog-Shits) in the early 1900s. They had gone first to Germany, then to the emerging colony of German Southwest Africa, now Namibia, where my grandfather Robbie had been born in 1908. He grew up poor; his father worked at a low-paying job as a fitter on the railways while his mother kept a boarding house in the small capital Windhoek (though one family rumour has it that she was sometimes a little more than a landlady to her male guests).

The German colony was too rigidly anti-Semitic to allow Jews to make easy fortunes. So, on reaching his twenties, my grandfather crossed the great Kalahari, travelling through British Bechuanaland (now Botswana) to Rhodesia, where, after a brief spell selling shoes, he managed to land a job as a trainee auctioneer in a firm owned by another Litvak Jew – one Herschel (known as Harry) Schapiro. There followed a machiavellian rise to fortune: my grandfather courted and married Freda, daughter of this man Schapiro, became head auctioneer, began slowly buying up farms that came to the company cheap and, eventually, took over the firm.

Harry Schapiro himself had a more romantic story. While still a young man in Lithuania he had abandoned his wife Minnie (a notoriously difficult woman, according to my father) and set off into the world to make his fortune. He took a ship to England, intending to go from there to America, but – owing to his lack of English – got on the wrong boat and ended up in Port Elizabeth, just as the Boer War broke out.^* With characteristic opportunism, he enlisted in the Johannesburg Mounted Infantry believing that once the war was over they would be demobbed in the Transvaal – where the gold mines were. Harry spent three years tramping up and down central South Africa without seeing a shot fired. Then, when the Armistice came, the regiment was demobbed not in the mine fields as promised, but back in Port Elizabeth where Harry had started from.

Undaunted, he set out for the Transvaal anyway, only to end up, not a mining magnate as he had hoped, but a butcher in the mine kitchens, where his wife Minnie managed to track him down, having travelled all the way from Lithuania to do so. Harry stayed with her just long enough to sire Freda (Robbie’s wife and my father’s mother, who died from Alzheimer’s while my sister and I were still small), before running away again, this time to Rhodesia, where he graduated from butcher to cattle trader to wealthy owner of a livestock auctioneering house. Minnie, no less resourceful, tracked him down a second time, whereupon he capitulated, though she of course never forgave him.

My father remembered Minnie – by then an old woman – drinking champagne by the gallon and forcing Harry to buy her a neverending stream of expensive gifts – Persian rugs, Chinese vases and the like – which she would then sell, banking the money. Because, she claimed, she never knew when her husband might take it into his head to disappear again. During these latter years she developed delusions of grandeur and used to tell my father that she had married beneath her, having spent her girlhood in a Lithuanian palace. ‘Rubbish, Minnie,’ Harry would harrumph from his armchair, ‘you were born in a hovel.’

My father’s side was successful financially, my mother’s side less so. But the Loxtons were made of epic stuff. My mother’s father Allen, for example, after spending an idyllic boyhood riding his horse Starlight across the rolling green hills of Natal, became a journalist, then a tank soldier in the 8th Army during the war in North Africa. He escaped his burning tank at Tobruk and jumped onto an abandoned motorbike just as the Afrika Korps came running over the dunes. On his return from the war, Allen resumed his career as a journalist, roving all over southern Africa as a feature writer for the Sunday Times and Johannesburg Star. My mother showed us great fat binders full of his cuttings – stories of travels with crocodile hunters, with witch doctors, with Bushmen; the black and white pictures and Boys’ Own language (at which he excelled) conjuring a world of adventure that stood out in stark contrast to the world I knew in London.

No less intrepid, his wife – my grandmother Barbara – also went to the war, putting my mother (then aged three) and aunt (aged five) into a children’s home and roaming the Western Front as a freelance war artist for the South African papers. As with Allen’s cuttings, my mother would show us Barbara’s paintings, which were kept in a big leather trunk in our sitting room. Barbara had painted everything she saw: London families sleeping in the Underground during the Blitz; the Battle of the Bulge, with the American dead lying in the snow of the Ardennes, cut down like wheat by the German Tiger tanks; the blood-spattered agony of the military hospitals; civilians starving on the streets of the Hague. Shortly after Berlin fell, she and a group of other journalists were allowed into Hitler’s eyrie, high in the Bavarian Alps, literally days after the great dictator and his mistress Eva Braun had committed suicide. Barbara rifled the desk drawers and brought back a few of Hitler’s personal effects – minor things like photographs, an Iron Cross or two, and some official documents – to pass on to the children. My sister and I felt proud that my mother’s parents had taken part in this great story.

But the Loxtons paid for their adventurous spirit by being heavy drinkers, prone to irrational rages, and subsequent wallowing remorse. Allen was no exception, and drove Barbara to leave him a few years after their return from the war. The effect on my mother and her sister Lindsay was far-reaching. Once she left Allen, Barbara (who seems to have been kind, but emotionally cool) never had her children to live with her again. Having been put into boarding schools as near infants while their parents went adventuring, they experienced but a brief couple of years of family life before being shunted off once more, to grow up in institutions until they reached university age.

My petite, blonde, bespectacled mother grew up a true Loxton, becoming involved, while at university, in anti-apartheid campaigns. Her old photograph albums show pictures of the time: my mother (a platinum perm atop a Jane Mansfield bust) and a black male student symbolically burning the government’s separate education Bill; my mother speaking on podiums; brawls between Afrikaans students loyal to the system and my mother’s leftist crowd; pictures of more serious attacks by policemen. One in particular stands out: a march by black domestic maids, protesting for better working conditions, charged with batons and dogs. In the foreground, a woman is on the ground, a police-dog savaging her abdomen, the handler’s truncheon raised high, about to deliver a skull-cracking blow to the woman’s head.

By this time Barbara had remarried, and she and her new husband (a politically active, left-wing lawyer named George Findlay) decided it would be best if my mother left the country before the inevitable arrest that must follow such activities. She was glad to get out and go adventuring in the world as her parents had and took the boat to England along with her sister, Lindsay. In England my mother flirted with the ANC, but became diverted – by art school, by meeting my father, himself an African émigré – and settled down to produce my sister and I while embarking on a career as a sculptor and artist. But when I was eighteen months old, and my sister four, my mother took us back to Africa and presented us to Barbara and Allen (who, though as much of an alcoholic as ever, had moved to Johannesburg and started another family).

A year later, both Allen and Barbara were dead. And in a sad postscript to their failed relationship, though they lived at opposite ends of the country they died within hours of each other. One day while at work in the Sunday Times office, Allen collapsed from emphysema (he had been a heavy smoker), and never regained consciousness. A telegram was sent to Barbara. According to her husband, she went quiet, and retired to have a think and be alone with her memories. When he knocked at the door a short time later to see if she was all right, there was no response. He opened the door and found her lying dead from a stroke.

My mother went almost mad with grief. She had at last begun to know her parents, and now suddenly they had been snatched away. Throughout our childhood, she would be prone to periodic depressions, and the sense of being an exile never left her. Unlike my father, who fitted happily into London (he later told me that even in his Rhodesian childhood he had longed for cities: ‘The first time I went to Johannesburg and smelled the car fumes and saw all that concrete around me, I felt an almost sensual thrill of excitement and pleasure’), my mother missed Africa keenly. She expressed it in her sculpture, her painting, almost all of which featured African people, African scenes.

It was perhaps to make up for the loss of her parents, and of all that she had hoped we children would have learned from them, that she became such a willing story-teller. She told us of the four Loxton brothers – Jesse, Samuel, Jasper and Henry – who in 1830 had come to South Africa from the Somerset village of Loxton and immediately dispersed into the wide spaces of the dry north, the area known as the Great Karoo.

Like all the other early Karoo settlers, the Loxtons lived, at first, by pastoral nomadism learned from the Khoi, a people who looked like Bushmen and spoke a similar clicking language, but who lived by herding rather than hunting. Having shown the whites how to follow the rains and where to find water in this unendingly arid land, the Khoi soon found themselves dispossessed, along with the local Bushman clans. By the time the Loxton brothers arrived, the Khoi had been reduced to working for the whites, and the last remaining Karoo Bushman had retreated to mountain strongholds, from where they watched the white men carve out farms by the land’s few natural springs and kill off the game.

For the whites, it was a slow, monotonous existence, enlivened only by hunting, mostly for wild animals, but sometimes also for Bushmen, who would, as their situation became more and more desperate, occasionally materialise from nowhere to raid livestock. For many Karoo settlers, hunting Bushmen became a well-known, if little talked about, sport. I can only speculate that my family must have done as others did.

Eventually, the Loxton brothers bought land and settled down. Henry, the youngest (my great-great-grandfather) trekked over the Drakensberg mountains into Natal – Zulu Country – where he ended up a wagon-maker, wedded to an Afrikaner woman named Agathe-Celeste (my great-great-grandmother), who had been abandoned as an infant in the court of the Zulu king Mpande by her ivory-hunting father. She had spent her girlhood there, re-entering white society only when she became a young woman and married my great-great-grandfather.