By Harold Bloom (ed)
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Additional resources for Alan Paton's Cry, the Beloved Country; New Edition (Bloom's Modern Critical Interpretations)
Thus, in the section which dramatizes a housing shortage in the townships outside Johannesburg and which refers to the death of a black woman’s child and to her subsequent grief, we ﬁnd generalizations of the following sort: “Such is the lot of women, to carry, to bear, to watch, and to lose” (p. 54). Thus we repeatedly ﬁnd Stephen Kumalo with his “tragic eyes” and “his face in the mould of its suﬀering” (p. 105). The description of the misfortune is invariably converted into a drawn out characterization of the almost insuperable sorrow and mourning which it arouses.
Eleven miles. —That is a long way, for an old man. —Men as old as you are doing it every day, umfundisi. And women, and some that are sick, and some crippled, and children. They start walking at four in the morning, and they do not get back till eight at night. They have a bite of food, and their eyes hardly close on the pillow before they must stand up again, sometimes to start off with nothing but hot water in their stomachs. I cannot stop you taking a bus, umfundisi, but this is a cause to fight for.
52. 18. , 52–3. 19. Roux, Time Longer than Rope, 322–3. 20. , 323. 21. It is worth noting that, in the novel, Dubula organizes both the Bus Boycott and the building of Shanty Town. In fact, they were two different men; Gaur Radebe and Sofazonke Mpanza respectively. Another example of artistic distortion. 22. Cry, the Beloved Country, Bk I, ch. ix, 50. 23. There were other ‘shanty town’ incidents that occurred in 1946 at Pimville and Albertynsville, which were recent in Paton’s memory when he wrote Cry, the Beloved Country in 1947.
Alan Paton's Cry, the Beloved Country; New Edition (Bloom's Modern Critical Interpretations) by Harold Bloom (ed)