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The Woman Next Door: A Novel
The Woman Next Door: A Novel
The Woman Next Door: A Novel
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The Woman Next Door: A Novel

Rating: 3.5 out of 5 stars

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The U.S. debut of award-winning writer Yewande Omotoso, in which an unexpected friendship blossoms in contemporary Cape Town—and in a community where loving thy neighbor is easier said than done.

Hortensia James and Marion Agostino are neighbors. One is black, the other white. Both are successful women with impressive careers. Both have recently been widowed, and are living with questions, disappointments, and secrets that have brought them shame. And each has something that the woman next door deeply desires.

Sworn enemies, the two share a hedge and a deliberate hostility, which they maintain with a zeal that belies their age. But, one day, an unexpected event forces Hortensia and Marion together. As the physical barriers between them collapse, their bickering gradually softens into conversation and, gradually, the two discover common ground. But are these sparks of connection enough to ignite a friendship, or is it too late to expect these women to change?

A finalist for: International DUBLIN Literary Award Hurston/Wright Legacy Award for Fiction Barry Ronge Fiction Prize Aidoo-Snyder Book Prize • University of Johannesburg Main Prize for South African Writing
Longlisted for the Bailey's Women's Prize for Fiction One of the Best Black Heritage Reads (Essence Magazine) • One of NPR's Best Books of the Year One of Publishers Weekly's Writers to Watch

LanguageEnglish
Release dateFeb 7, 2017
ISBN9781250124586
The Woman Next Door: A Novel
Author

Yewande Omotoso

YEWANDE OMOTOSO was born in Barbados and grew up in Nigeria, moving to South Africa with her family in 1992. She is the author of Bom Boy, published in South Africa in 2011. In 2012, she won the South African Literary Award for First-Time Published Author and was shortlisted for the South African Sunday Times Fiction Prize. In 2013, she was a finalist in the inaugural pan-African Etisalat Fiction Prize. She lives in Johannesburg, where she writes and has her own architectural practice.

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Rating: 3.7499999392156864 out of 5 stars
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  • Rating: 4 out of 5 stars
    4/5
    Two old ladies live next door to each other in a fancy neighborhood in Cape Town, South Africa. They seem to be extremely different -- starting with the fact that one is black and one is white -- but have, perhaps, quite a few things in common... including a generous helping of bitterness. And they thoroughly hate each other's guts.This is one of those books I feel like I sort of wanted to like more than I actually did. The main characters are interestingly complicated (even if one of them is more developed and clearly dearer to the author's heart than the other), and the novel dips into some important and difficult themes -- racism, the terrible history of South Africa, the difficulties faced by professional women -- in a fairly nuanced way. But after a while, I fear I grew a little tired of these women's company. That feeling lessened by the end, at which point we know enough about them to feel some real sympathy for them. But the more their relationship developed, the less realistic I felt their dialog was. And in the end, I'm left not entirely sure how I feel about the novel as a whole. There's a fair amount in it that felt interesting, or touching, or insightful, at least a little. But perhaps just not quite as much as I wanted.
  • Rating: 4 out of 5 stars
    4/5
    The Woman Next Door is set in Capetown, South Africa, and is the story of two elderly ladies, Hortensia and Marion, who have been neighbors and enemies for twenty years. Marion is white and Hortensia is black, and although this is well after apartheid, Omotoso shows that while laws can change material situations, it is more difficult to change minds and hearts.After the deaths of their husbands and an accident, Marion and Hortensia are forced to interact on a new level. Omotoso uses flashbacks to reveal the history of the two women, who are both great characters. One of the strengths of the novel is that fact that Omotoso does not make either character all good or all evil. Instead, we get complex characters in a complex situation.I really enjoyed the novel. Perhaps the ending was a little contrived, but still, this is recommended.
  • Rating: 3 out of 5 stars
    3/5
    The main problem with structuring a novel around two cantankerous old neighbours who can't stand each other is that you have very little freedom in deciding where the story will go. If they aren't reconciled to each other by the end of the book the reader will feel cheated out of a proper story; if they are, then we tell ourselves that we knew that was going to happen all along, and wonder what we're paying the writer to do. Omotoso manages to steer around this problem to some extent, but in the end she gets sucked into the vortex of narrative inevitability just like everyone else who ventures into this particular plot.Where this book stands out from most of the others that use this particular plot device is that Omotoso's objective is not so much to make us laugh (although she does do this occasionally) as to make us think about one of the nastier problems of growing old - the realisation that it's getting too late to fix the things in our life that we would prefer to have done differently - in our personal lives or in the wider world. Which doesn't necessarily make it any easier to forgive or to apologise. The two central characters, both in their eighties when we meet them, are successful career women and the children of parents belonging to oppressed minorities (Marion is the white South African daughter of Jewish refugees from Lithuania; Hortensia the black British daughter of Caribbean immigrants), and both are uncomfortable with compromises they have been forced to make between family and professional life; in addition, Marion is (at least subconsciously) aware that she has been passively complicit in the oppression that went with Apartheid, simply by being there and being white, whilst Hortensia's experience of living in South Africa makes it difficult for her to see white people as anything other than racists.All of which sort-of works, but seems to be rather too heavy a load for the characters to carry. Especially since Omotoso's technique is to explain the development of Hortensia's and Marion's self-awareness mostly through flashbacks to their (separate) earlier lives, whilst their interactions with each other in the here-and-now are mostly rather brief and brusque. So you get the feeling that we are in two separate, occasionally overlapping novels: Hortensia and Marion are scarcely aware of each other's existence most of the time and are both looking for (or trying to postpone) some kind of resolution in their own lives, independently of each other, and it seems almost coincidental that they happen to be together when things click into place. The minor characters are also very much in the background most of the time - this is a very solipsistic book about two characters with big egos in which no-one else gets much of a look-in.On the other hand, Omotoso adopts the perspective of an old person very convincingly - I didn't look her bio up until after finishing the book, and I was genuinely surprised to discover that she's still in her thirties. Interesting, definitely, but more for the subject-matter than as a novel.
  • Rating: 4 out of 5 stars
    4/5
    In a posh Cape Town suburb, two octogenarian women neighbors have been trading barbs for years. Hortensia James was born in Barbados, trained as a textile designer in England, and had a successful career in her own design business. She and her white husband purchased home #10 about twenty years ago, making her the first black homeowner in the housing plan. The architect for #10 was Hortensia's neighbor in #12, Marion Agostino. She designed #10 at the apex of her career as her own dream home. Family responsibilities thwarted her career, and residence in #12 was the closest she could get to her aspiration for #10. Marion heads up the local homeowners association which Hortensia attends just to oppose Marion. Hortensia's bitter and oppositional personality is cued up perfectly against Marion's prejudiced upper class pretensions. When Hortensia sets up a home renovation project to spite Marion, a twist of fate damages Marion's home, breaks Hortensia's leg, and puts them in a situation of mutual need. Hortensia invites Marion to live in her home, not out of generosity, but as an attempt to keep visiting care nurses out of her home. The two women set about forming a crotchety relationship as widows who have been betrayed by their husbands in different ways. Childless Hortensia is forced into meeting her deceased husband's love child, while Marion is forced to face her own inadequacies as a mother, and the limitations of her background as a while woman under Apartheid.If you are looking for an antidote to all the current popular books about the redemption of grumpy old men...this is it...the redemption of two intelligent, creative, grumpy old women. I highly recommend it based on that fact alone.
  • Rating: 4 out of 5 stars
    4/5
    4 Stars. A book about two octogenarian women who have been neighbors (but not friends) in South Africa for 20 years. One black, one white, both had successful profession careers yet were personally unhappy; and, have delighted in perturbing each other for all of those years. The book begins in the present and continues for just a few months. Their animosity is immediately apparent and we are privy to their thoughts as each looks back on her life and what made them be the way they are. The women are forced together (one living in the other's house) by circumstances and throughout the long weeks they had more communication than in the 20 previous years. As the novel unfolds, we see a grudging respect developing for each other and we see that they are alike in a lot of ways. The story of their personal lives is sad . . . that they each became disappointed in their choice of husbands and the choices they along the way. But each chose to remain in their marriage and gave up a lot of themselves in the process. I found their stories very sad, even given the time and place that they lived. They did have choices but opted out of them. The developing relationship between the two is probably the most honest that each has had in her life, and a pleasure to spy on.
  • Rating: 4 out of 5 stars
    4/5
    Two elderly women in their eighties have lived next door to one another for some twenty years. They live in post- apartheid Cape Town, South Africa. Hortensia James is black , and a bitter, angry woman who prefers to be alone. Next door is Marion Agostino, a white woman , who is rather a snob. Both are recent widows, with Hortensia having no children, and Marion being the mother of four children.Both women are deeply discontented with their lives. Fate creates a situation where the women must come into contact with one another , and as each woman learns a bit about the other, a certain sympathy and friendship grows. It is a fragile one, and how it maintains itself going forward is left to the reader to imagine.An easy and enjoyable read, but lacking in the depth that I had expected.3.8 stars. I enjoyed and it was a quick read, just not up to the standard that I hoped for. Overall, a pleasant and quick read.
  • Rating: 4 out of 5 stars
    4/5
    "Good fences make good neighbors," while often true, isn't particularly the case in Yewande Omotoso's novel, The Woman Next Door. Not even a fence can make the two neighbors, one black and one white, like each other, get along with each other politely, or even just tolerate each other when they pass in the street or encounter each other at neighborhood meetings. In fact, Marion and Hortensia, two women with what should be quite a lot in common, loathe each other and delight in making the other uncomfortable or angry in their well-off suburban Cape Town neighborhood. Both are highly educated and were quite well respected in their chosen fields (textile design for Hortensia and architecture for Marion). Each had a less than ideal marriage and shortly after the opening of the novel with the death of Hortensia's husband, both are widows. In their eighties now, having been neighbors and enemies for years, each of them holds tightly onto her rancor towards the other one. These two irascible women delight in sniping at each other without really knowing each other more than superficially. But when an accident happens and a legal threat to their homes surfaces, Hortensia and Marion are forced into a grudging cooperation.Compared by many to Grumpy Old Men, this is actually something entirely different. Yes, the two main characters are cantankerous and competitive but they also have the weight of South African history underpinning their sometimes hilarious and sometimes bitter and mean hostilities. Their personal stories wrap around the greater political history of apartheid, slavery, and race in general. Omotoso keeps a light hand on the history, politics, and issues though so as not to make the characters simply foils for past injustice. Hortensia and Marion feel real in their own right with their flaws, occasional nastiness, veiled insecurities, disappointments, and personal problems. It is the women and their relationships, warts and all, that drives the narrative here. There is some humor but in general the novel is more serious than not, taking on race, women's rights, marriage, motherhood (or not), jealousy, aging, and more. I found this to be a worthwhile and enjoyable read if not entirely what I expected.Of note: this book is one of the Women's National Book Association's Great Group Reads for 2017-2018.
  • Rating: 4 out of 5 stars
    4/5
    Yewande Omotoso tells the story of two elderly women living in an affluent neighborhood in Capetown, South Africa. Marion, a white woman, runs the neighborhood committee and has a hand in everything going on. Hortensia, a black woman who moved to the neighborhood with her white husband after Apartheid ended, is stand-offish but she attends the committee meetings. Hortensia and Marion are constantly in disagreement and have never gotten along. After Hortensia's husband dies and they are both widows, circumstances push them together. This isn't a feel-good story about old enemies becoming friends, or at least not quite. The gulf between the two women and the shared weight of their personal histories doesn't allow for a glib ending. Instead, there's a nuanced story of two women who lived through tumultuous times and were shaped by the places they'd lived. Omotoso does a wonderful job of portraying each of the women with equal nuance. It's not an easy thing to write a sympathetic and critical character study of a racist old woman, but Omotoso has managed to make Marion not only into a living, breathing woman, but to make her reactions and thought-patterns understandable.
  • Rating: 4 out of 5 stars
    4/5
    This novel is set in post-Apartheid Capetown. Hortensia (black) and Marion (white) have lived next door to each other for years in a state of restrained enmity. Marion is a former architect, who in fact designed Hortensia's home and envies that it belongs to Hortensia. She has recently been widowed and has discovered herself to be penniless. Hortensia is a world-famous textile designer whose husband is bedridden and dying. Marion and Hortensia exchange polite hostilities in their day-to-day dealings. Then accidental events force Marion to move in with Hortensia and we watch over time as their bickering gives way to friendship---maybe.I enjoyed this novel of a war of wits between two elderly women.3 1/2 stars
  • Rating: 4 out of 5 stars
    4/5
    This story is set in Capetown, South Africa, after and is the story of two elderly women, Hortensia and Marion, who have been neighbors and enemies for twenty years. Marion is white and Hortensia is black. They have both lost their husbands and when circumstances change, Marion moves in with Hortensia temporarily and their story really begins. While neither of these women is very pleasant, their back stories start to give you a better idea of who they really are and what happened to make them this way. I'm not doing this story justice, but I did enjoy it.
  • Rating: 4 out of 5 stars
    4/5
    An unusual story about two older women - one black, one white - in South Africa who lived through apartheid and have been neighbors for the past 20 years. Their mutual disdain for each other is legendary but, when circumstances throw them together, will they realize they have more in common than they thought? Their thought-provoking relationship raises issues of race, anger, pride, forgiveness, remorse, and friendship. No easy answers found here. Omotoso creates two realistic and challenging characters. Highly recommended for readers of literary fiction with a touch of humor.
  • Rating: 4 out of 5 stars
    4/5
    For twenty years, Hortensia and Marion hated one another with venom. Although the two women are of different colors Hortensia is black and Marion is white, their dislike for one another is not necessarily for this reason alone. "The Woman Next Door" by Yewande Omotoso is deeply thoughtful: There are the beliefs about race owned by South African society, there is memory, there is marriage and the breaking of marriages and there are the unexpected moments of pain which come upon us. The novel brings to mind Ecclesiastes. There is a time for everything. Lastly, there is the extraordinary ability of the human mind to endure friction in relationships. Yewande Omotoso's ability to share the hatred between these two women and their progress towards helping one another and sharing their past with one another is healing.Soon there is an accident. Hortensia shares her house with Marion. During that time Hortensia shares her memories of marriage. Marion shares her life as a mother and grandmother and her remembrances of her parents. It is interesting to read about the tortures of widowhood. After the death of a spouse, secrets come forth. Secrets that you can not sweep under the carpet. Poor Hortensia. It is true. The moments of hardships are not few in "The Woman Next Door."Marion experiences money problems. Sometimes what we depend on becomes lost to us. In this case, there is a painting.In the end, you have to think deeply about friendship. Sharing only happiness is not always the way one comes to form a bond. I have to say the end left a question in my mind whether the understanding between these two elderly ladies would falter again or grow stronger or stagnate. I choose to believe time spent sharing is never wasted no matter the fruit it leaves behind. There are also different ways to experience wisdom one from another. There is something in the book that is bound to touch the heart of anyone and leave a lasting book memory. For me, it is the moment when Marion's granddaughter comes to visit.
  • Rating: 4 out of 5 stars
    4/5
    South Africa. Two women, elderly widows, both of whom had impressive careers in design fields. And they have hated each other for years. But circumstances bring them together, so they can both get what they want in the short term--but each has something the other cannot have.Omotoso uses these women, Hortensia (black, from Barbados but raised in London, came to South Africa from Nigeria) and Marion (white, the daughter of Polish Jews who fled and abandoned their religion out of fear), as well as their community, to tell a story of modern South Africa. Of how people have been treated and how many still are, of how property rights are a knot of cheating that was legal when it occurred, of never knowing what others' dreams might be. Both women carry a lot of guilt/regret for very different reasons. Omotoso was also born in Barbados (where her mother is from), and was raised in Nigeria, and has lived in South Africa for nearly twenty years.

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The Woman Next Door - Yewande Omotoso

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For Emily Doreen Verona Atherley and

Percy Leroy Rice

For Ajibabi Daramola Oladumoye and

Gabriel Omotoso Falibuyan

The wall is the thing which separates them, but it is also their means of communication.

Simone Weil, Gravity and Grace

ONE

The habit of walking was something Hortensia took up after Peter fell ill. Not at the beginning of his sickness, but later, when he turned seriously ill, bedridden. It had been a Wednesday. She remembered because Bassey the cook was off on Wednesdays and there were medallions of lamb in Tupperware in the fridge, meant to be warmed in the convection oven, meant to be eaten with roasted root vegetables slathered in olive oil. But she hadn’t been hungry. The house felt small, which seemed an impossible thing for a six-bedroomed home. Still, there it was.

‘I’m going out,’ Hortensia had shouted at the banister. According to the nurses, she wasn’t supposed to leave him unattended but Hortensia held the nurses and their opinions in contempt. She didn’t see the need to knock on the door and tell him she was leaving, either. She had convinced herself that Peter’s hearing, unlike his deteriorating body, was intact. That he was capable of hearing even while buried beneath blankets, hearing through the closed door of what she called the sickbay, hearing down the stairs, hearing as she closed the front door behind her. She’d gone out through the pedestrian gate, looked up and down Katterijn Avenue and turned right towards the Koppie.

The Koppie, a small rise in an otherwise flat landscape, was the obvious place to walk to that first time, and every time since. Being neither fit nor young, it was important to her (especially with her bad leg) that the slope was gradual enough not to be a bother; but still high enough to afford Hortensia a sense of accomplishment each time she climbed it. She was petite and her strides were small. Her walk had grown laboured over the years but in her youth, with her small stature and vigorous movements, she had been regularly confused, from afar, for a child. Her curly black hair cut close to the skull didn’t help her appear any more adult. Up close, though, there was nothing childlike about the sharpness of her cheekbones, her dark serious face, her brown eyes.

Once on top of the Koppie, Hortensia liked to trail through the grasses and low bush. She wore her hiking boots and enjoyed the crunch of their soles on the rough ground. All this had been a surprise that first time; enjoyment of nature wasn’t generally something Hortensia engaged in. But at the advanced age she was, with over sixty years of a wrecked marriage behind her, this enjoyment was precarious. The slightest thing could upset it.

The top of the Koppie was planted with wild-growing vines and scattered pine trees. A path cut through the long grasses and although it looked maintained, Hortensia couldn’t help but think of the Koppie as a forgotten land. Once it became of interest to her she quickly noticed that the kids of the neighbourhood didn’t play there, and the adults of Katterijn seemed to flatten the hill with their gaze, discount its presence.

Soon after she started climbing it – to get away from a dying man, to give him room to die faster, to catch fresh air, she couldn’t work out which – some old bat from the committee mentioned it; put it on the agenda in fact. Katterijn committee meetings never failed to make much ado of the quotidian, to wrestle the juices from the driest of details, to spend at least an hour apiece on the varied irrelevances experienced by the committee members since the last meeting.

The Koppie was also a surprise because Hortensia had reached the age of eighty-five without having understood the meditative power of walking. How had she missed that? she scolded herself. But now, with Peter almost gone, it seemed right that she discover walking, that she do a lot of it and that she not resist the contemplation it provoked in her, the harking back to the past, the searching. These were all things Hortensia had grown skilled in avoiding. All her life she’d occupied her time with work. In return her company, House of Braithwaite, had enriched her and, in exclusive circles particularly in Denmark, amongst interior designers and fashionably nerdy textile-design students, made her famous.

Before the Koppie, memories were balls of fire sitting in the centre of each earlobe. A headache, her doctor in Nigeria had called it when it first started, but this was no headache. It was resentment, and Hortensia found that if she looked away from the things that were rousing – the memories – she was not happy but nor was she in agony. And then, so many years later, to discover walking. To discover that if she remembered while walking, the memories were bearable. Was it the fact of simultaneously thinking back while moving forward in a wide-open space, unconstricted? Not that the walking made the memories come sweetly. They came with anger and it helped that the Koppie was deserted, so Hortensia could shout and not be disturbed by any other living thing except some squirrels and, judging by the small mounds of sand, a colony of ants.

*   *   *

Katterijn was an enclave of some forty houses within Cape Town’s suburb of Constantia. Not all owners lived on the premises; many were European, leased their properties out and boasted of their African summer homes at dinner gatherings. The Estate had its origins as a wine farm. When Hortensia and Peter had moved to South Africa the agency had made a fuss about the great history of Katterijn, which went as far back as the late 1600s. A Dutch man, Van der Biljt (Hortensia found the name unpronounceable), had visited the Cape, a guest of the Dutch East India Company. Corruption was rife in the company, and Van der Biljt was a reluctant part of a team posted by the directors to bring order to the venality. The parcel of land was gifted to him to sweeten the deal, encourage him to settle after the mission was completed, should he so wish. He so did and eventually used the land to produce wine as well as fruits and vegetables. Some said Katterijn was the name of his lover, a slave concubine, but others – more invested in a de-scandalised history for the neighbourhood – insisted Katterijn was his daughter. What about the history of the slaves? Hortensia had asked, because it was in her nature, by then, to make people uncomfortable. The agent did not know anything about the slaves of Katterijn; she directed their attention, instead, to the marvellous view of Table Mountain.

It had been 1994. South Africa shed blood and had elections. The USA hosted the World Cup. Nigeria beat Bulgaria 3–0. Already sick, nothing excited Peter, but soccer still could. And as the players put the ball through the goalposts fair and square, a democratically elected president in Nigeria was arrested; the previous year a perfectly decent election had been annulled. Hortensia and Peter agreed to leave Nigeria. After the perpetual warmth, they were reluctant to return to England’s cold climate. South Africa with its new democracy, its long summers and famed medical facilities would ensure the best conditions as Peter got sicker. They’d arrived to their new home and Hortensia had realised that she would be the only black person living in Katterijn as an owner. She’d felt disgust for her surroundings, for the protected white gentry around her and, in her private dark moments, she felt disgust for herself as well.

Despite its beauty, Katterijn turned out to be ugly and, to begin with, Hortensia was unable to fathom why. Not one for uncertainty, she preferred simply not to notice the prettiness at all, then the puzzle of how something apparently good-looking could generate disgust would be avoided altogether. The houses were white and green and the lawns were wide and planted with flowers, bushes and grass that presented a manicured wildness. Gardens made to look like they’d sprung up that way, except they hadn’t, they’d been as good as painted into place; branches trained and bent into position. The Katterijners had simply mastered a popular pastime, making a thing appear to be what it is not. But by the time Hortensia had worked all this out she was too tired to move again. And besides, she wondered if such a place wasn’t just right for her.

*   *   *

Once a month a Katterijn committee meeting was held. As far as Hortensia understood it, the committee had been started by a woman named Marion Agostino who also happened to be her neighbour, a nasty woman who Hortensia did not like. But then again Hortensia did not like most people. She had stumbled upon the meetings by accident, soon after she arrived in Katterijn. No one had thought to mention that by rights, as an owner, she was entitled to while away time with the other committee members. The information was let slip. At the time Hortensia had felt that the initial omission was not forgetfulness but deliberate, and it was easy enough to assume that the slight was based on skin colour. Armed with the knowledge, Hortensia had taken the short trip to Marion’s and pressed the buzzer on her intercom.

‘It’s Hortensia James from next door.’

She had not been offended by the absence of any show of welcome from her neighbour or the other residents. They had not come to Katterijn to make friends, something both she and Peter had managed without for the bulk of their lives.

‘Wait, I’ll call my madam,’ a disembodied voice said.

Hortensia leaned her shoulder against the wall.

‘Hello?’ That must be Marion.

‘It’s Hortensia. From next door.’

‘Yes?’

This was the moment when Hortensia understood she would not be invited in. The slight annoyed her briefly, but she waved it away as unimportant.

‘I’ll be attending the meetings.’ It mustn’t sound like she was asking permission. ‘The committee meetings.’

‘Hmm, I hadn’t realised you were owners.’

Hortensia still listening at the buzzer like a beggar. ‘Yes, well, we are.’

‘Oh, well, I was confused. And…’ Hortensia could almost hear Marion searching for another gear, ‘… is that gentleman your husband?’ She wasn’t asking so much as scolding.

‘Who, Peter? Yes.’ Again this hadn’t surprised Hortensia. She’d fallen in love with a white man in 1950s London. They had been asked on many occasions to verify their courtship, to affirm that they were attached, to validate their love. Within a year of being together they were practised at it. ‘Yes, Peter is my husband.’

‘I see.’

In the silence Hortensia supposed Marion was thinking, inching towards her next move, preparing another strike, but instead she heard a sigh and almost missed the details of the upcoming meeting. Marion even threw in a dress code as a parting gift.

‘We dress for our meetings, Mrs James. We follow rigorous decorum.’ As if she thought dignity was something Hortensia required schooling in.

*   *   *

The meetings seemed to have been created for the purpose of policing the neighbourhood; keeping an eye out ‘for elements’, the community librarian had explained to Hortensia. Foolishness, she’d thought, and soon been vindicated after attending a few sessions. The meetings were a show of a significance that did not exist. Old women, with their wigs, their painted nails, their lipsticks seeping down whistle lines; scared and old rich white women pretending, in the larger scheme of life, that they were important. Hortensia attended because the women were amusing, nattering on in earnest about matters that didn’t matter. She enjoyed to think she was laughing at them. But really it passed the time, took her mind off whatever else there was.

There were times, however, when the meetings moved from amusing to offensive. Once, a black couple moved into Katterijn, renting a duplex not on the Avenue but off one of the minor roads. They had two children. A neighbour, an old man, green at the gills and one-toothed, complained that the children ought not to bother his postbox. The matter was raised in committee. He claimed that the children were assaulting his postbox, messing with it. How did he know this, had he seen it? No, he had smelt it when he climbed down his stoep to collect the mail. He knew the smell of brown children. Could this botheration come to an end? he pleaded. Hortensia had cursed him, walked out of that meeting. And as if the Heavens had heard the man’s plea, the botheration came to an end – he died.

Regardless, Hortensia always went back. To mock them, to point out to them that they were hypocrites, to keep herself occupied.

*   *   *

Hortensia checked her watch. Give or take, there were usually ten people present, ten of a possible thirty or so owners. Tonight twelve had shown up. It was all women, all over sixty, all white. This was Katterijn. The meetings were usually tedious but this time apparently something important was to happen. ‘Crucial’ had been the word used by her neighbour Marion.

‘Evening,’ Hortensia greeted the batty librarian whose name, just then, she couldn’t remember.

‘Hortensia, good you’re here. Today is crucial.’

As if the word had been circulated, sent out in memo by Marion. True, there was an extra breeze of excitement. Hortensia, as always, chose a chair near the door. She did it deliberately to remind whoever might bother to notice that she could leave. Well, they could all leave, but it was particularly important to her for them to know that she could leave first.

‘Evening, ladies.’ Marion Agostino seemed to press these words out of her nose. Her smile was painted in a red too red for white skin, Hortensia thought, showing her distaste, hoping people would notice. ‘Today’s meeting is particularly crucial.’

A shiver went round, scented in a bouquet of Yardley, Anaïs Anaïs and talcum powder. Sometimes Hortensia hoped the women were pretending, like she was. She hoped they were there for the same reason, even if secretly. Not for the discussion of fencing left unfixed, bricks from previous works uncollected; nor for hedges to be trimmed or three quotes to be inspected; but for the promise of something non-threatening and happily boring with which to pass the time, get nearer to death, get closer to being done with it all. After so many years of living – too many – Hortensia wanted to die. She had no intention of taking her life but at least there were the Katterijn committee meetings, slowly ticking the hours off her sheet.

‘So.’

Hortensia watched Marion lengthen her stubby neck and lace her fingers together atop a manila folder obsequiously named (in elaborate stencil) Katterijn Committee Meeting File. That the same tattered folder had been in use for the twenty years Hortensia had been whittling time away at these meetings proved the kind of nonsense they’d been up to.

‘Yes, there is this pressing matter, but I first wish to deal with issues pending from our last meeting…’

True to form, Marion was circling the issue, circling. Marion the Vulture. Hortensia looked around the table. They were bickering about a swing in a park, just by the highway that headed back towards the city centre. A group of vagrants had taken possession of it. Clothes were seen drying there, strung along the bars. Offensive smells had been noticed. Someone resolved to take the message to City Council. Then there was the clutch of trees that was blocking someone’s view of Table Mountain, but someone else’s grandmother had planted them, and so on.

‘Okay, so now,’ Marion was readying for her big strike of the evening. Her hair was dyed a wan colour to conceal the fact that she’d been living for over eighty years. At one meeting Hortensia had overheard her refer to herself as a woman in her late sixties and almost choked on the tepid rooibos tea she’d been drinking.

‘… finally, ladies, to the matter at hand. I’m not sure if any of you realise – in fact the only reason I found out is because of my first granddaughter, I’m sure you all recall that she’s a law student – well, the point is, a notice has been made of a land claim in Katterijn. The notice was published in the Government Gazette by the … Land Claims Commission.’

‘What’s that?’ Sarah Clarke asked.

Sarah was the only other person on the committee who got so much as a word in edgeways. She was the resident gossip, now in the unfamiliar position of asking a question, since there was little that Sarah Clarke did not already know.

‘It’s the … Commission … it deals with land claims, things like that.’

Hortensia rolled her eyes. Not that she cared but, naturally, she knew all about it and said so, explained that the Commission was set up in the Nineties to restore land to the disenfranchised. While reaching into the hallowed folder, Marion spat a look at her.

Marion pulled out a map of Katterijn, which she unfolded in the centre of the table with a reverence Hortensia had seldom seen shown for paper.

‘The Land Claims Commission, Sarah, is one of those things with a self-explanatory name. And now,’ she rose to point out the parcels of land, ‘a group of some…’ she rifled papers, more a show of importance than a real search for information, ‘some three families … well, one big extended family, the Samsodiens.’

Marion rifled some more, until Hortensia had to concede that perhaps she was actually looking for information and, more than that, the woman looked nervous.

‘What’s the claim, Marion?’

‘Just a moment, Hortensia. Just a moment.’

She found what she was looking for. ‘The claims process has just this month been reopened, so … what I mean is they’d been closed since 1998 and then, for various reasons, on the first of July—’

‘Why were they closed?’ asked a woman whose name Hortensia could never recall.

‘Well, Dolores, they were closed because…’ She rifled. ‘Doesn’t say here, but—’

‘The Commission was only open to claims from ’94 to ’98. That was the window-period.’ Hortensia was enjoying herself. It wasn’t like Marion to give away such easy points but, while she was being generous, it was Hortensia’s aim to collect. Their rivalry was infamous enough for the other committee women to hang back and watch the show. It was known that the two women shared hedge and hatred and they pruned both with a vim that belied their ages.

Marion looked crestfallen. She was of course accustomed to doing battle with Hortensia, anywhere from the queue at Woolworths to outside the post office, but these committee meetings were like sacred ground to her, sacrosanct – she never got over the shock each time Hortensia questioned her authority.

‘The Commission,’ Hortensia continued, ignoring the glare in Marion’s eyes, ‘came about as a result of the Restitution of Land Rights Act that was passed by the then-new government.’ Hortensia relished the use of those words ‘new’ and ‘government’, aware of how much they affected the women.

‘Alright, alright, Hortensia. If we can just get back to the actual issue that we – gathered here – must deal with. The history lesson can continue after the meeting is over. Thank you. The Samsodiens are claiming land. The Vineyard basically. I’m surprised the Von Struikers aren’t here, I’ll make a call and request they attend the next meeting. It might be their land, but something like this will affect us all. Don’t even get me started on what it’ll do for property prices.’

Hortensia hated the Von Struikers. Bigots of the highest order, they owned the Katterijn Vineyard, bottled a limited-edition white wine and sometimes a red, neither of which Hortensia found drinkable. Not because of its taste; even if the wines were the best thing

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