Translated by Michiel Heyns
REVIEW: KARIN SCHIMKE
Take the title as a warning. Or as an invitation. Either way, you’re not going to get what you generally expect when you pick up a South African novel: the gentle prising of our of violent past, present and (undoubtedly) future through hyper-real interaction between recognisable characters.
What you will get is a cacophony of realities. It Might Get Loud is a vast and clamorous story that mixes the unmitigated presence of the dead, of demons and spirits and mysteries, into the prosaic lives of the two main characters, Maria Volschenk and Karl Hofmeyer.
The characters don’t know one another, and while they do skim past one another towards the end of the book, they never meet and are unaware of one another. Yet they have much in common: both journey from Durban to Cape Town on the impetus of their relationship with a troubled sibling.
In this sense, Winterbach’s tenth novel typifies the quest in literature, where the journey is both symbolic and the spine around which the plot is assembled. Karl’s journey in particular, is full of trials as he heads to Cape Town in his car, trailing through the country’s “godforsaken” backwaters.
What both characters need to retrieve (retrieval being an element of the quest novel) is an answer: Karl needs to understand what has happened to his brother that he is “causing havoc” on the urban farm where he is living, while Maria is trying to make sense of her sister Sofie’s suicide.
Neither Karl nor Maria return to Durban with answers, but neither does either seem to have turned any obvious corners in their own development. Which leaves the journey-as-plot aspect of the novel apparently unfulfilled – things happen, in sequence, but the traditional course of cause and effect – the “and so” – is missing.
This is not to imply any failure. The novel’s hazy irresolution is precisely the point: it avoids pronouncements.
Central to both stories is a farm (the place actually exists), an old military store in Tamboerskloof that became neglected and was taken over by Josias Brand, a hippy artist with a will of iron and heart for society’s misfits. Karl’s brother Iggy has ended up here amongst the animals, strugglers and survivors, but has fallen foul of Brand.
This farm is enormously symbolic as a geographic marker, referencing the well-established plaasroman in Afrikaans, but turning it on its head, so that here it represents more fully the country’s liminal spaces. It is a place where previous social orders are evident, but crumbling. It is the crackled surface that might lie between what is concrete and what, for so many South Africans, regardless of race and culture, is an “other side”; the unseen, but vividly experienced world of the spirit.
On the way to Cape Town, Karl reads letters Iggy has written him in which he sets out a grand, occultish fantasy that plays off inside the old storage halls on the farm, in which Iggy says he has had to fight for his “soul” against demonic forces. That Iggy is, in medical terms, delusional, is borne out by the real-world situation in which Karl finds him when he gets to Cape Town: drugged on a psychiatric hospital bed.
Karl’s confusion and hopelessness in the face of his brother’s strange ramblings and his fate – indeed in the face of life – is contrasted starkly with his obsession for heavy metal music.
Winterbach details – sometimes perhaps gets a little carried away with her research – this obsession, when Karl comes across as similarly obsessed metal fans on his way to Cape Town and they discuss bands and gigs together. In fact, the English title of this book comes from a 2008 documentary about some prominent heavy metal musicians.
The muscular, uncompromising aggression of this rock genre is the polar opposite of Karl’s personality. He washes his hands obsessively and is superstitious to the point of paralysis about numbers. But he is also a realist and Iggy’s otherworldly obsessions are a cypher to him.
Numbers are important in the story – Maria is a bookkeeper, whereas her sister was a poet – but they are not the only heavily loaded symbols. There are biblical images of plague, small creatures, domestic farm animals, movies, opera – It Might Get Loud is in fact exactly the kind of amplified distortion that heavy metal is, and a source of endless intertextual references, so varied in scope and historical time that even the experienced reader would have to read it more than once to pick up and hold on to all the threads.
The result is often puzzling, but also exceedingly pleasing. It Might Get Loud is intelligent, boundary shifting and unafraid of itself.
The novel is rather like Sofie’s poems, which one character describes as having “a kind of spirit…that no longer takes account of things like your normal, predictable aesthetic.”
- This review first appeared in Business Day.