English Literature

The post-apartheid literature of South Africa reflected the underlying socio-political and cultural tensions prevailing in the country. While the period leading up to the imposition of the apartheid witnessed the whites enjoying a distinct privilege over the blacks, subversion of roles was soon on the cards. Nadine Gordimers famous novel Julys People, brought out in 1981, vividly documents the aftermaths of the revolt that took place in the 1980s. The narrative recounts the story of a white family that enjoyed class superiority prior to the South African revolution against racism. The novel itself is a landmark in the history of African literature as it predicts the course of events well before the racial segregation was dissolved in 1994. One of the most critical themes addressed in this novel is how social as well as domestic roles interchange and how this affects human relationships as a whole. Furthermore, the novel also explores the characters occasional outbursts as they can no longer relate to their changed roles.

Julys People recounts the story of the Smales family that used to enjoy a privileged social status courtesy of their white descent. The author builds up the backdrop of the narrative by imagining a civil war between the oppressors and the oppressed, in which the latter overturn the former. This incident compels the Smales family to flee Johannesburg and take refuge in the house of their black servant named July. The beginning divulges subtle hints as to the direction of the rest of the novel. By and large, the novel makes a singular attempt to point out that by the time it was written, a change was imminent in the socio-political context of the nation. The starting sequence of the novel bears ample testimony to the radical displacement of social roles between servants and masters
No knock but July, their servant, their host, bringing two pink glass cups of tea and a small tin of condensed milk, jaggedly-opened, specially for them, with a spoon in it (Gordimer 1).

It is quite apparent that July is introduced by the author as their servant, their host. This juxtaposition of roles immediately grabs the readers attention. As regards the change of roles depicted in Julys People, it may be noted that this change is projected by the author as a logical consequence to what the blacks experienced earlier during the dictatorial white regime. It may be noted that given the changed circumstances in the new world order of the blacks, the familiar meekness and loyalty expected of the servants class is no longer there, and that it is perfectly justifiable not to question the sincerity of human relations in the larger context of class conflicts. The earlier white supremacy is seen as referential points throughout the novel, most notably in the scene when Maureen Smale, almost in a feat of epiphany, rediscovers her past and tries to question the utter absurdity of the disdainful white attitude to the blacks. Upon looking at a picture of herself as a kid accompanied by her familys maid Lydia, she fails to reason why Lydia used to carry her book case everyday. This self-criticism by Maureen implies a sense of irresolute surrender not just to her unwitting guilt conscience, but also to the fact that time has changed and she must learn how to treat everyone on the basis of equality People in delirium rise and sink, rise and sink, in and out of lucidity (Gordimer 3).

The borderline between the servant-master relationships in Julys household is very well defined, as both Maureen, her husband Bamford Smale and their three children gradually come to understand.

However, this adjustment is difficult to make, especially since it was the Smales who used to command July earlier and not the other way round. The moments of explosion occur frequently for both the Julys family and the Smales family. As the precursor to a redefined state of hierarchy, situation of the hosts compels them to act more out of authority than loyalty to their former masters. As a matter of fact, Julys People goes beyond the traditional outlooks on master-servant relationships. It makes a wholehearted attempt at challenging long-held perceptions about how a relation dictated by power and position should be functioning when a paradigmatic shift in authority takes place. It may be noted, however, that neither the Smales nor the Julys are antagonistic to one another. It is just the uneasiness with newly ascribed roles that triggers a massive reversal of values and orientations in the novel.

The concept of exploding characters in Julys People may well be conceived of by the author during her 30-year long stay in Africa. In this sense, this notion is by no means a fanciful excogitation meant for sensationalizing the readers responses. What it actually achieves is quite encouraging for the international readers. The plot devices incorporated in the novel are unique and original. Far from providing just the exposition of resistant behavioral traits shown by the Smales, the narrative tools help sparking a strong response to peoples familiar ideas about racism.

In essence, Julys People by Nadine Gordimer is at once a futuristic tale of hope and prosperity and at the same time, a bleak narrative dealing with the likely implications of such transmutations. The authors basic objective is to show that liberalization of values does not blindly lead to the future. The Smales are liberal and virtuous. But that does not make much difference when it comes to demolishing the tools of exploitation and social subjugation. The need for the same is acutely realized by the Julys who represent the black brigade in Africa. The common human instinct to react negatively to intimidation is another key concept addressed by the author. She tries to instill the fictitious hope that encourages us to take forward steps in life through acceptance of change, without worrying about the uncertainties changes normally bring along.