Van der Vyer is repulsed by the idea of living in close proximity to blacks, as is reflected in Gordimer's physical description of his home. He is angered by the calls for freedom of blacks such as Nelson Mandela, protesting in the townships. He is also angry at himself that his accident has given anti-apartheid activists more 'ammunition' in the fight to end state-imposed segregation. He feels sad for Lucas, but it does not occur to him that Lucas may have wanted more in life than merely serving Van der Vyer. Lucas' life is a tragedy, not simply because it has ended but because it never really began, due to the fact he was denied an appropriate education and opportunities.
It is interesting that the story is entitled "The Moment Before the Gun Went Off:" surely the story is about what occurs afterwards, the reader might initially suspect. However, Gordimer's point is that the murder occurs before the accidental gunshot. The...
In a time of modernization preceding the current-day Islamic revolution, he is looked on as a dangerous stranger, an outsider, in the country of his origin. During the story, his interactions with everything from the architecture of the Ottoman Empire, to a former/current love interest, to police spies, to a local newspaper publisher become pregnant with meaning as he searches about for meaning in an otherwise mundane existence. Though,
July's People Though not actually about the end of the world in any large-scale sense, Nadine Gordimer's July's People truly is a type of post-apocalyptic tale for two of its primary characters. Maureen and Bam Smale are forced to live in the village of their black former servant, July, following a hypothetical and violent end of apartheid that has left militant black revolutionaries in charge of Johannesburg and the South African
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