Flame in The Snow Extract 1 MayApril1963

Grahamstown
Sunday, 21 April 1963

Delightful little creature,
I needed some neutral in transit days between the Cape and being
back again, just to make the transition more gradual. After the week
and especially those three days of change, I feel very averse to
enduring, all over again, that old threat of a settled, safe, bourgeois
life. Respectability. Predetermined reactions to predetermined stimuli.
There are people for whom such an existence will never be a threat
because theyre too free within themselves ever to get caught up in it;
but I must constantly resist this opiate precisely because it would be
so easy just to let it take me. During the week in the Cape you at least
provided something of an antidote. Should I politely say thank you?
That would make it too banal. Especially our night. [T.S.] Eliots line
poetry can communicate before it is understood also applies, in
a certain sense, to people who come together, freely, through sex. It is
precisely an act of communion that, thank God, remains beyond words.
I mean, what would I include in my little inventory especially in the
clear light of day?: a scent; memories of your hands, hair and breasts;
your voice; tears; cynicism; game-playing; red wine; two double brandies; eyes: mocking, saying no, cursing, showing contempt, playing with
me, saying yes, sweet and happy, or the-hell-in and huffy ! All of this
gets one nowhere. Luckily, however, these things are just starting points.
Memories and bodies are mere titles of long poems; and our sleeping
together is a sort of holy Mass, in which transubstantiation is complete.
(Is this perhaps the most pure religion for us non-believers? Otherwise,
why exactly would a person say Lord God in heaven? Giuseppe di
Lampedusas loveliest girl character does in fact say Gesmaria!)
Is a body itself capable of remembering? I think its recollection is
better than unreliable memory. My body remembers yours. And its
not because of those few strategic little pains or the mark on my shoulder. Also not I hope! because I have now become part of your
sorrow; its more positive. The bodys memory, as opposed to the

brains, is like imagery in the midst of matter-of-fact words.
Okay, go ahead and say: What nonsense! Or worse. Im not busy
with a Simone de Beauvoir dissertation here. Im actually just busy saying in a roundabout way what Ive already said: thank you.
Until such time as I get to see you again, I shall have to make do
with your manuscript. (And please let me know when you think its
time for it to be returned!) Luckily there is the unexpected prospect
that my seeing you again might occur sooner than expected. Some or
other study group in Stellenbosch has asked me to deliver three lectures
there later this semester. Then Ill be able to come and visit you on their
account! This kind of lecturing gives me the shits. William Styron (have
you read his Lie Down in Darkness?) said something like: One thing I
cant stand is that a young writer, after having written one book, starts
lecturing and giving pompous interviews on all sorts of subjects about
which he knows nothing. Long live Styron! But sometimes a collar is
more precious than the dog that wears it.
Christ Almighty, and this morning a ceremonious telegram arrives
here announcing that it pleases the South African Academy of Art
and Science to award me with a Eugne Marais Encouragement Prize
for Drama. Now that my hilarity at hearing this news has died down,
I find myself in quite a pickle: first of all, I dont have a clue (and neither, apparently, does anyone else) what kind of an animal this prize
is; I dont even know on what grounds its being awarded, or what its
worth. And now? Must I reply: deposit the prize up your anus? Or
should I accept it tongue-in-cheek because I could use a few extra rands
and dont in any case have too many illusions about my abilities as a
dramatist? Or would that be dishonest? You see, I have long hoped
that the Kakkademy would award me a Hertzog Prize one day so I can
refuse it on the grounds that theyre incapable of making any decisions
about literary merit. (Or would that be ridiculous?)
Meanwhile, my biggest task and headache right now is typing
up Die Ambassadeur / Die Ongedurige Kind [The Ambassador / The

Restless Child]. I want to finish it now if there hadnt been so many
changes to add in the retyping process, I would have hired you as a
professional typist. Now Im sucking it all up myself and theres no
use moaning about mistakes. I want you to meet Gillian and Nicolette.
(Fortunately I know you wont mince your words!) At least a fragment will be appearing in the second 60. But when will that be? Bartho
[Smit] in fact sounded quite half-hearted about the journals financial
prospects in his most recent letter. Hes arriving here in the next few
days; Ill be able to learn more at first hand then.
I saw Rob [Antonissen] this morning, and without my asking, he
referred to your poems in 60 (which he seems only now to have read).
He says hes very taken with them. Youve told me you dont care
much what critics say, but maybe this will warm your heart a little.
Youve been through enough wintery things as it is. I know we relate
as free individuals, hold each other to nothing, and dont commit each
other to any bonds, but I do wish I could be with you; and help a bit.
Not only to find a place to live and share every days finicky little tasks
with you, but maybe also to save you from the thought that the cure
for loneliness is solitude.
Please for Gods sake, Ingrid dont do what you wanted to do
in Jan [Rabie]s house. No reasonable grounds exist for my being able
or willing to persuade you otherwise. Maybe my insistence is based
on purely selfish considerations. But dont. You must still make things
like Begin Somer [Early Summer], Dood van n Maagd [On the
Death of a Virgin], Bitterbessie Dagbreek [Bitter-Berry Daybreak],
LArt Potique, the series of intimate conversations; and we must
once again make, together, what Afrikaans itself cant: love.
The suns calling me outside (its already fully winter here); I want
to go sit in the garden and read [Paul] luard, and Jonker.
Write, Ingrid. And allow me to do anything I possibly can to help.
In whatever way.
Send my regards to Chris [Lombard], and thank him again. And
write for us a poem about: The memory of evening is like an apple;
find a way to relate it to Adam and Eves apple; when youre done, eat
the apple; and then ask: what now? You will know how. Im not a poet.
With love,
Andr.
Sunday, 5 May 1963

Andr, my dear little heart,
I write you quite a lot more than I actually post an old habit. Thank
you for your letter of Tuesday, which you shouldnt have written! I
hope you will never again feel that you should this or that with me I
particularly like your open, honest, spontaneous reactions. And so your
letter was actually a delightful surprise and I let a mistake through on
the front page of the Strydkreet. But I told the foreman it was actually
only 50% my fault, which confused him a little until I could think of a
better excuse.
Guess what? My child arrived by plane yesterday and she is now
sleeping nice and warm in the next room. Shes grown to be so cute and
when I cant bring myself to reprimand, I just have to laugh, especially
when she calls me little mommy! Im sitting here now at Jans table
where we read Richard Rives letter, do you remember? Last night, with
Richard sorry thought for a moment about Richards letter and wondered why I wasnt intuitively warned! Last night I had a meal with
Dan [Daniel] Kunene, such a civilised soul with an impressive kind of
dignity and a quick mind. He is a lecturer in African languages at the
University of Cape Town and at the moment head of the faculty. I am
eager to introduce you to him when (when?) you come down to Cape
Town. He is also the translator of the African poems in the Penguin
edition of South African poetry. Trying to go overseas for a year for a
study tour, but what a mess its almost impossible for him to leave
the country because of all the suspicion
Did my last letter depress you terribly? I am not a prose writer but,
as you say, there are a few things in life for which, thank God, no words
are necessary. Id also love to speak to you, but heaven knows, not with
words on a piece of paper. Also want to tell you about my new poem
based on the Dutch hex-text You put a spell on me, magician then
the poem moves in a kind of a dream atmosphere, I mow everything
down and stand naked, all alone and happy, until the spell is broken
and I must go back to my blood relations / back to my kin / back to

the pre-birth-death / where I belong [terug na my bloedverwante /
terug na my naasbestaandes / terug na die voorgeboort-e-like dood /
waar ek hoort].
Andr, you speak about renouncing things, is this an indication
that they are being lost already, because what is actual is actual only
for one time / and only for one place / I rejoice that things are as they
are and I renounce the blessed face Allowing something to endure,
will you find a charm for that, Magician? Child, I feel frustrated and
so I went off to look for your little portrait in Die Huisgenoot so that I
could, at the very least, see how your declared face looks it is rare
to discover someone so suddenly and completely, and afterwards the
physical distance as you call it, which everything now rests upon and
where it happens ! In the meantime, I swim in the ice-cold water of
Clifton and I work, and I receive, it seems, hundreds of people ... and
sleep so terribly much!
The poems you sent me are once again proof of your astonishing
receptiveness and high emotional tempo which is of course absolutely essential to the whole complex organisation of an artists tools.
What this poem still lacks is the technical expertise, which will come
later (if you kept it up and I know you should and now you must keep
it up). Poetry lies just under the surface of your highly lyrical prose
in Lobola and Caesar. Im looking greatly forward to Die Ongedurige
Kind, you will in no way burden me with it, I await its arrival with
joy, to which I also have a right. To get back to the poems Most of
them are successful, Through the Looking Glass and especially the
earth that drifts away like a dandelion seed [die aarde wat soos
n sydisselsaadjie wegdryf]. (The two people I showed the poems
to in confidence Freda Linde and Chris both said almost without hesitation in the same words, although they didnt see the poems
as successful as a whole: But theres no doubt; hes our man. I also
like Meisie [Girl] from: you: you play with the sky and especially little Midas-child / under your fingers / everything becomes
poetry
Also come and sleep with me and some of the words that play
like naughty children in dark rooms.
I hope you will continue, long, very long, after the original inspiration has dwindled Send me everything you write, and when we are
together again, I would like to examine everything, line by line, also
because I, I already know this, can learn so much from you.
But now Im not writing another word. Soon youll believe that I am
in love with you! But call me one night (when you get this letter).
Fixed time and Personal. Then I will hear your voice and see whether
this is true!
Until then, darling,
Ingrid.
ps: What is your second name? IJ.

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Grahamstown

Sunday, 21 April 1963

sorrow; its more positive. The bodys memory, as opposed to the

up Die Ambassadeur / Die Ongedurige Kind [The Ambassador / The

Sunday, 5 May 1963

and I must go back to my blood relations / back to my kin / back to

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