52 pages 1 hour read

Once Upon a Time

Fiction | Short Story | Adult | Published in 1989

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Themes

Township Uprisings of 1984-1985 and the End of Apartheid

The anti-apartheid movement of the late 1980s serves as the political backdrop for the action that takes place in “Once Upon a Time.” In the years preceding the end of apartheid in South Africa, both peaceful and violent demonstrations spread throughout the townships, the impoverished neighborhoods where Black South Africans lived. Townships were located outside major cities such as Johannesburg, Pretoria, and Cape Town. Gordimer can begin her fairy tale “In a house, in a suburb, in a city,” without specifying the location because the urban planning of all major South African cities was the same. Gordimer’s story also portrays the township uprisings indirectly, through the eyes of white South Africans who fear changes that the protestors demand. By treating both her main characters and their imagined antagonists as generalized archetypes, Gordimer suggests that this story, or similar ones, may have played out all over South Africa at this time.

The main method of enforcing apartheid was South Africa’s pass laws. White government officials segregated both townships and public transportation because limiting the movement of Black South Africans helped ensure the dominance of the ruling white minority. Legislation required Black and “Coloured” South Africans to carry internal passports and to show their passports if they ventured outside of the townships or attempted to use public transportation. Apartheid law only allowed Black South Africans to leave the townships for work, which is why the husband tells the wife that only “reliable housemaids and gardeners” were allowed into their suburb and that they have “police and soldiers and tear gas and guns to keep [the other Black people] away” (69). The mentions of soldiers, tear gas, and guns refer to the increasing violence that began in the 1980s in response to the intolerable conditions of apartheid.

On September 3, 1984, residents of the Vaal Triangle, a series of townships outside of Cape Town, protested increases in rent and municipal taxes coupled with a lack of social change. They organized strikes, school boycotts, and demonstrations. The violent insurrection marked the beginning of a series of brutal revolts, demonstrations, and protests across the country, and in 1985 the government declared a State of Emergency. The police and military suppressed these armed protests, but activists persisted into the early 1990s, creating a state of civil war until they were able to dismantle the apartheid system and elect Nelson Mandela president in the country’s first democratic election in 1994.

South Africa’s Mining Industry, Exploitation, and Personal Wealth

Gordimer depicts the white characters who focus on their personal possessions as parallel to the South African government, which exploited generations of workers through the mining industry. The lucrative diamond and gold mining industries fueled practices that disenfranchised Indigenous and other Black workers. In the early 1900s, when South Africa was primarily agricultural, the government imposed poll taxes and hut taxes on the rural population that compelled men to seek work in the mines. Laws prohibited Black workers from moving to the growing cities and they therefore became a migrant labor force. The Urban Areas Native Pass Act (1909) issued passes to Black workers, allowing them up to six days in the cities to seek work before they had to return to their villages. Day-long commutes and difficulty finding work often led workers to overstay their allotted six days outside the village, leading to many of them being arrested.

Members of the white apartheid government created laws and policies to ensure a permanent underclass of mine workers. Mine work was low-paying and dangerous but abandoning one’s job was a criminal offense. The Native Lands Act of 1913 excluded Indigenous people from buying or renting land outside of areas delineated by the government, which became known as homelands. The available lands were less than 10% of the country’s territory, though Black South Africans comprised over 70% of the population and many were indigenous to the lands European-descended Afrikaners colonized. The Mines and Works Act of 1911 and its 1926 amendments restricted Black people’s job mobility further by limiting skilled trade positions to white workers and, in some cases, to those considered “Coloured.”

Mine work kept male heads of households away from their farms, families, and communities for weeks at a time, which led to rural underdevelopment. The mining industry undermined the Black population, withholding social security from them by designating mine workers as ineligible part-time laborers. The dangerous work environment, unhealthy living conditions, high mortality rates, and brutal security created the vast system of inequality necessary for the South African government to consolidate its wealth and political control by keeping its Black population impoverished and often literally underground.

The white characters’ constant fear of robbery in “Once Upon a Time” acts as commentary on the relationship between white personal wealth and exploitative labor performed by Black workers. The narrator’s house is built over an old mine. The noises it causes below her house lead her to fear that someone—implicitly a member of the Black working class that included miners—will intrude into her home to steal from her. The irony in this scenario is that the mining system and government limitations on Black work, mobility, and income have already robbed the Black population of the personal wealth and security that the narrator and the family in her fairy tale still possess.

Fairytales and Children’s Safety

Fairytales sometimes act as cautionary tales to influence children’s behavior and teach moral lessons. In such stories, the main character is often a child or a brave prince or princess with whom the child can identify. In “Once Upon a Time,” the main characters are adults who, in trying to keep their child safe, cause his death. The “bedtime story” the narrator tells is a caution to adults who, in trying to keep out the monsters of their own creation, invite—or create—a bigger, more destructive danger.

Gordimer’s fairy tale does not directly address children, nor does it clarify its intended audience. Is the narrator telling the story to herself? Is the fairy tale the story she plans to write for the anthology meant for children? Or is it strictly meant as a morality tale for the reader? The narrator writes that she “began to tell [herself] a story; a bedtime story” (68). One might tell a fairytale to soothe a child even if the story contains elements of danger. However, the tale the narrator constructs contains political themes and has a jarring ending for the child character, elements that do not usually occur in fairytales. Even in “Hansel and Gretel,” in which a witch threatens to cook and eat the children, they manage to escape.

The family’s fenced-off pool introduces the theme of protecting the boy from danger, as the narrator specifies that the fence was erected so that “the little boy and his playmates would not fall in and drown,” which implies that the little boy may be tempted to play a game in or near the pool that could be dangerous (68). The parents do not consider that the boy may want to play games using the new security systems, even when the narrator states that he plays cops and robbers with the intercom on the gate. Gordimer skillfully raises the tension by describing how nimbly the cat jumps over the wall and the wife’s comment that she hopes the cat will take heed and avoid the security coil (72). When the cat learns to avoid the wall, the narrative tension dissipates, and the reader may relax, believing that no harm will come to the family, before encountering the sudden violence of the boy getting caught in the wire.

The name Dragon’s Teeth, for the coil of wire, evokes the dangerous mythical creature common in fairy tales, and Gordimer foreshadows the story’s ending with the dual imagery of the dragon and the briar thicket that appear in the boy’s bedtime story. The author suggests a parallel between the parents’ imagination, which leads them to barricade themselves against an imagined intruder, and the boy’s imagination, which leads him to play an innocent game that turns deadly. The parents’ desire to keep the boy safe becomes secondary to their desire to slay an imaginary monster. Rather than proving heroic, their actions end in tragedy

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