The Conservationist

"The Conservationist" resembles William Faulkner's masterpice "The Sound and the Fury" in several ways: It's subject matter is a dying culture based on racial stratification, the author uses a stream of consciousness style, the story is told from the perspective of three individuals, and it is a magnificent and defining novel. The principal character is Mehring, a middle-aged white businessman who has purchased a farm outside Johannesburg as a weekend getaway and hobby. Mehring's marriage has failed, he can't relate to his son who is in college, and relations with his lover are intermittent. He is increasingly driven to seek casual sex with younger women. His only attachment is to the land. But it is a hollow love for something he no more understands than he does the people around him. The other major characters through whose eyes we see South Africa are Josephus, Mehring's black overseer, and an Indian shopkeeper. In each case we see members of a patient older generation fearing change, willing to accommodate, successful in bending the system to their advantage, and fearful of losing what they have. The story was written and set in the 1970s when South Africa was still very much under an apartheid social system. Gordimer's novel is a protest against that system, but a subtle and sensitive one. It would be a mistake, though, to categorize the novel as political or to assume it is dated. It is a richly symbolic novel about the futility of legislating values and the emptiness of a life based on lies. Its message is portable to any place and time. The style of "The Conservationist" is difficult to characterize because it shifts from a traditional third person perspective, into an occasional first person, and then into a stream of consciousness mode. The major events occur in chronological order, but a fair proportion of the narrative is spent in flashback. This may make it sound more difficult to read than it is. In a few instance the shift of perspective or time is confusing, but on the whole it is not an especially challenging book to follow, and is definitely easier than "The Sound and the Fury." I would say it is about on a par with Virginia Woolf's "To the Lighthouse" as far as difficulty is concerned. Finally, we can't overlook what will appeal to many readers - the setting, both physical and cultural, of South Africa. Mehring's farm has the universal appeal of rustic serenity with the added dimension of the exotic. No, there aren't any lions charging from the bush, but Gordimer, in very economical prose, evokes the harsh majesty, the sights sounds and smells, of the African veldt. And every bit as fascinating as the landscape is the cultural pastice of African, Indian, Boer and English cultures, each seeing the land - and each other - through the lens of its unique values and myths.

This is the story of Mehring, a wealthy high class businessman and landowner from Transvaal who narrated his life throughout internal monologues, reflections and fragment of conversations with the distant son, lovers, adquaints and the workers of his farm, giving us and idea of how empty and lonely without love or ilusions his life is but at the same time full of wealth and privilegues.Ms Gordimer - using Mehring character - gave us a portrait of a South Africa divided by the Apartheid where social status is linked with the color of the skin and at the same time gave us an idea of the idiosyncracy of all the characters mentioned in this story, the boers, indians and blacks who interact and live together but separated by the racial laws of South Africa.

I have never been in SA, but every one can watch the news these days. This book depicts this country from both sides, the blacks and the whites, in a very realistic way. It seems like both people don't really make it work, because of mistakes they both make out of their own culture. It is one of those books that you will not forget, and for a good reason it is one of her most famous ones.higly recommended.

Gordimer's Booker-prize winning novel is one of the least overtly political of her works--at least in the most traditional understanding of "political fiction" (fiction about the machinations of state power). Yet the book remains a forceful, intricate exploration of power, as timely today as it was in 1974, as relevant to contemporary America as it was to minority-ruled South Africa. I have read--and written about--each of Gordimer's novels, and The Conservationist remains a favorite. Nowhere else in contemporary English-language fiction have I found such memorable passages about landscape; nowhere else have I found such a subtle exploration of self. I recommend the novel to anyone remotely interested in the modernist novel, to anyone who has ever sat under the spell of Virginia Woolf (Gordimer, too, is a Woolf reader), to anyone who turns to literature for both Beauty and that old hound Truth.