It is terrible to destroy a person's picture of himself in the interests of truth or some other abstraction. How can one know he will be able to create another to enable him to go on living? Mary's idea of herself was destroyed and she was not fitted to recreate herself. She could not exist without that impersonal, casual friendship from other people; and now it seemed to her there was pity in the way they looked at her, and a little impatience, too, as if she were really rather a futile woman after all. She felt as she had never done before; she was hollow inside, empty, and into this emptiness would sweep from nowhere a vast panic, as if there were nothing in the world she could grasp hold of. And she was afraid to meet people, afraid, above all, of men. If a man kissed her (which they did, sensing her new mood), she was revolted; on the other hand she went to the pictures even more frequently than before and came out feverish and unsettled. There seemed no connection between the distorted mirror of the screen and her own life; it was impossible to fit together what she wanted for herself, and what she was offered.

At the age of thirty, this woman who had had a 'good' State education, a thoroughly comfortable life enjoying herself in a civilized way, and access to all knowledge of her time (only she read nothing but bad novels) knew so little about herself that she was thrown completely off her balance because some gossiping women had said she ought to get married.

Then she met Dick Turner. It might have been anybody. Or rather, it would have been the first man she met who treated her as if she were wonderful and unique. She needed that badly. She needed it to restore her feeling of superiority to men, which was really, at bottom, what she had been living from all these years.

They met casually at the cinema. He was in for the day from his farm. He very rarely came into town, except when he had to buy goods he could not get at his local store, and that happened perhaps once or twice a year. On this occasion he ran into a man he had not seen for years and was persuaded to stay the night in town and go to the cinema. He was almost amused at himself for agreeing: all this seemed so very remote from him. His farm lorry, heaped with sacks of grain and two harrows, stood outside the cinema, looking out of place and cumbersome; and Mary looked through the back window at these unfamiliar objects and smiled. It was necessary for her to smile when she saw them. She loved the town, felt safe there, and associated the country with her childhood, because of those little dorps she had lived in, and the way they were all surrounded by miles and miles of nothingness – miles and miles of veld.

Dick Turner disliked the town. When he drove in from the veld he knew so well, through those ugly scattered suburbs that looked as if they had come out of housing catalogues; ugly little houses stuck anyhow over the veld, that had no relationship with the hard brown African soil and the arching blue sky, cosy little houses meant for cosy little countries – and then on into the business part of the town with the shops full of fashions for smart women and extravagant imported food, he felt ill at ease and uncomfortable and murderous.

He suffered from claustrophobia. He wanted to run away – either to run away or to smash the place up. So he always escaped as soon as possible back to his farm, where he felt at home.

But there' are thousands of people in Africa who could be lifted bodily out of their suburb and put into a town the other side of the world and hardly notice the difference. The suburb is as invincible and fatal as factories, and even beautiful South Africa, whose soil looks outraged by those pretty little suburbs creeping over it like a disease, cannot escape. When Dick Turner saw them, and thought of the way people lived in them, and the way the cautious suburban mind was ruining his country, he wanted to swear and to smash and to murder. He could not bear it. He did not put these feelings into words; he had lost the habit of word spinning, living the life he did, out on the soil all day. But the feeling was the strongest he knew. He felt he could kill the bankers and the financiers and the magnates and the clerks – all the people who built prim little houses with hedged gardens full of English flowers for preference.

And above all, he loathed the cinema. When he found himself inside the picture-house on this occasion, he wondered what had possessed him that he had agreed to come. He could not keep his eyes on the screen. The long-limbed, smooth-faced women bored him; the story seemed meaningless. And it was hot and stuffy. After a while he ignored the screen altogether, and looked round the audience. In front of him, around him, behind him, rows and rows of people staring and leaning away from each other up at the screen – hundreds of people flown out of their bodies and living in the lives of those stupid people posturing there. It made him feel uneasy.

He fidgeted, lit a cigarette, gazed at the dark plush curtains that masked the exits. And then, looking along the row he was sitting in, he saw a shaft of light fall from somewhere above, showing the curve of a cheek and a sheaf of fairish glinting hair. The face seemed to float, yearning upwards, ruddily gold in the queer greenish light. He poked the man next to him, and said, 'Who is that?’

'Mary,' was the grunted reply, after a brief look. But 'Mary' did not help Dick much. He stared at that lovely floating face and the falling hair, and after the show was over, he looked for her hurriedly in the crush outside the door. But he could not see her. He supposed, vaguely, that she had gone with someone else. He was given a girl to take home whom he hardly glanced at. She was dressed in what seemed to him a ridiculous way, and he wanted to laugh at her high heels, in which she tip tapped beside him across the street. In the car she looked over her shoulder at the piled back of the lorry, and asked in a hurried affected voice: 'What are those funny things?

'Have you never seen a harrow?' he asked. He dropped her, without regret, at the place where she lived – a big building, which was full of light and people. He forgot her immediately.

But he dreamed about the girl with the young up tilted face and the wave of loose gleaming hair. It was a luxury, dreaming about a woman, for he had forbidden himself such things, He had started farming five years before, and was still not making it pay. He was indebted to the Land Bank, and heavily mortgaged, for he had had no capital at all, when he started. He had given up drink, cigarettes, all but the necessities. He worked as only a man possessed by a vision can work, from six in the morning till seven at night, taking his meals on the lands, his whole being concentrated on the farm. His dream was to get married and have children. Only he could not ask a woman to share such a life. First he would have to get out of debt, build a house, be able to afford the little luxuries. Having driven himself for years, it was part of his dream to spoil a wife. He knew exactly what sort of a house he would build: not one of those meaningless block-like buildings stuck on top of the soil.

He wanted a big thatched house with wide verandahs open to the air. He had even chosen the ant-heaps that he would dig to make his bricks, and had marked the parts of the farm where the grass grew tallest, taller than a big man, for the thatch. But it seemed to him sometimes that he was very far from getting what he wanted. He was pursued by bad luck. The farmers about him, he knew, called him `Jonah'. If there was a drought he seemed to get the brunt of it, and if it rained in swamps then his farm suffered most. If he decided to grow cotton for the first time, cotton slumped that year, and if there was a swarm of locusts, then he took it for granted, with a kind of angry but determined fatalism, that they would make straight for his most promising patch of mealies.