former selves. Platitudinously, your memories are a precious possession; they can’t take them away from you, as Mevrouw Bonsma, our pianist, used to insist. I always wondered what she meant. Who were these robbers? And why should they want one’s memories? They would want something of material value, surely, wristwatches, wallets, shoes …
I came to the Café more concerned than ever to get it clear in my head. I brought my notebook along for a change, in case I wished to make a few sketches or diagrams. I pictured the establishment as a set about to be struck. If only I could arrange it all in my mind, like a diligent stage manager, with every prop in place, perhaps the characters would troop on from the wings of memory and take a bow.
I was tempted to sit at No. 1, where I’d spent my very first hours at the Europa. But as I’ve already indicated, sentimentality irks me, especially the American variety, which is descended from the Irish. I sat instead at my usual place, the round table where Spilkin and I first shared our thoughts on the crossword puzzle, which had been the great love of his life until grosser affections supplanted it, and ‘The Proofreader’s Derby’, which was and always will be mine. This table was No. 2. A signpost, a relic saved through my intervention, declared the fact (all the others had long since been filched, for reasons one can only guess at).
My eye was drawn to the city on the wall, to the walled city of Alibia, where I had roamed so often in my imagination.
In the foreground was a small harbour, with a profusion of fishing boats and yachts, and a curve of beach freckled with umbrellas. The palm-lined promenade cried out for women twirling parasols and old men nodding in Bath chairs with rugs over their knees. There were wharves and warehouses too, by no means quaint but necessarily somewhat Dickensian, and silos fat with grain, and tower cranes with their skinny shins in the water. Houses were heaped on the slopes behind, around narrow streets and squares. Despite the steepness of the terrain, there were canals thronged with barges, houseboats and gondolas. On one straight stretch of canal, evidently frozen over, one expected to see skaters in woollen caps racing to the tune of a barcarole. In the squares, there were outdoor cafés and neon signs advertising nightclubs; but in the windows of the houses up above, oil-lamps were burning. The baroque steeple of St Cloud’s, intricately iced, measured itself against glazed office blocks of modest proportions, while in the east a clutch of onion domes had been harrowed from the black furrow of the horizon. A Slav would feel just as at home there as a Dutchman. It was a perfect alibi, a generous elsewhere in which the immigrant might find the landmarks he had left behind. I had seen pointed out St Peter’s and St Paul’s, the Aegean and the Baltic. A receptionist at the German Consulate had shown us a bridge over the Neckar; and once an engineer from Mostar, then painting traffic signs for Roads and Works, had pinpointed the very house in which he had been born. His poor mother still lived there, with mortar-bombs raining down all around her.
What did Alibia mean to me? Certainly it was not ‘home’. I am a true Johannesburger, because I was born within sight of the Hillbrow Tower, our very own Bow Bells – or so Spilkin used to say. Of course, this was long before the Johannes Gerhardus Strijdom Tower (properly) was built, but he said it had retrospective effect: had it been standing at the time of my birth, I would have seen it from my crib.
Alibia was close to my heart for a different reason, an egocentric one, I suppose: in the middle of the city, bulging above the skyline and overhung by a dirty brown cloud, was a hill whose bumpy summit looked auspiciously like the crown of my own head. My personal Golgotha.
I came into the world, as many do, with a healthy head of hair. In my case, it was black and enviably thick (but