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Jan Rabie. Prosapionier En Politieke Padwyser

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Jan Rabie. Prosapionier En Politieke Padwyser Jan Rabie. Prosapionier en politieke padwyser J.C. Kannemeyer bron J.C. Kannemeyer, Jan Rabie. Prosapionier en politieke padwyser. Tafelberg, Kaapstad 2004 Zie voor verantwoording: http://www.dbnl.org/tekst/kann003janr01_01/colofon.php © 2016 dbnl / erven J.C. Kannemeyer binnenkant voorplat J.C. Kannemeyer, Jan Rabie. Prosapionier en politieke padwyser voorkant schutblad J.C. Kannemeyer, Jan Rabie. Prosapionier en politieke padwyser 5 Aan die nagedagtenis van Sanmari Carstens en met liefde vir Eric, Susan en Sinelle J.C. Kannemeyer, Jan Rabie. Prosapionier en politieke padwyser 7 Wanneer hulle wat ná ons kom die balansstaat van 'n Suid-Afrikaanse literatuurgeskiedenis opmaak, sal dit, naas die klein handjievol Afrikaanse prosawerke met werklike aanspraak op literêre afgerondheid, skrywerskappe wees soos dié van Rabie... wat uit Afrikaanse geledere die betekenisvolle groeipunte in die ontwikkeling van ons nasionale literatuur blyk te wees. JAKES GERWEL, Oggendblad, 30.6.1977 J.C. Kannemeyer, Jan Rabie. Prosapionier en politieke padwyser 11 Voorwoord Wanneer 'n mens Jan Rabie se bydrae tot Afrikaans en sy status as figuur in die letterkunde van die tweede helfte van die twintigste eeu nagaan, val 'n paar dinge dadelik op. Jan Rabie is nie die belangrikste skrywer van sy geslag nie, maar hy het met 'n werk soos Een-en-twintig die weg aangedui wat sy generasiegenote aanvanklik sou inslaan. Daarvoor het hy sewe jaar lank met bitter min geld in Parys gaan woon en die Franse literatuur en kultuur met groot toewyding sy eie gemaak. Vir skrywers soos Bartho Smit, Etienne Leroux, André P. Brink en Chris Barnard het hy die weg gebaan na Parys wat met sy aankoms in 1948 met strominge soos die surrealisme, die eksistensialisme en die absurdisme die kultuursentrum by uitstek van die Westerse wêreld was. In hierdie opsig was Uys Krige - wat ook, al was dit vir 'n korter periode, in die dertigerjare in die suide van Frankryk gewoon en geskryf het - Rabie se voorloper en literêre peetvader. Terwyl sy (meestal) jonger tydgenote hulle in die sestigerjare oorwegend in ‘seks en simbole’ verdiep en 'n belangrike bydrae gelewer het om baie van die taboes in die Suid-Afrikaanse samelewing af te breek en die heilige huisies omver te gooi, het Rabie egter ná sy terugkeer en vóór hulle 'n ander koers ingeslaan. Dit was sy oortuiging dat 'n skrywer in 'n situasie soos dié van Suid-Afrika die verantwoordelikheid het om op die mensonterende stelsel van apartheid te reageer. By meer as een geleentheid later het hy gesê dat Parys, naas die blootstelling aan 'n nuwe en vreemde wêreld, die insig by hom laat daag het dat hy verantwoordelik is vir 'n klein deeltjie van die wêreld. En daardie deeltjie was Suid-Afrika én die Afrikaanse taal. Anders as baie van sy enigsins ouer tydgenote, wat volgens sy oordeel van die Suid-Afrikaanse realiteit weggeskram het deur 'n ‘estetiese ster’ na te jaag, het Rabie met mag en mening sy skeppende werk in diens gestel van die protes en van sy feitlik fanatieke ideaal dat daar aan die suidpunt van Afrika uit die smeltkroes van rasse, afkomstig van drie kontinente, 'n nuwe volk tot stand moet kom met Afrikaans as gemeenskaplike taal. J.C. Kannemeyer, Jan Rabie. Prosapionier en politieke padwyser 12 Deur sy protes teen die politieke bestel in sy land het hy egter, soos hyself later ruiterlik sou erken, romans gelewer wat as kunswerke misluk. Die boodskap het dikwels die literêre waarde van sy werk aangetas en verminder en die didaktikus in hom het die kunstenaar verdring. Vir sy ideaal van 'n volk wat uit die smeltkroes van witter en bruiner Afrikaners sou voortkom, het hy daarmee die hoogste offer gebring wat 'n skrywer kan bring: om sy talent in diens van die verset teen 'n onreg te stel en estetiese norme vir sy werk af te skaal. Die vraag of die ideaal van 'n nuwe volk met Afrikaans as gemeenskaplike taal, in watter stadium van die ontwikkeling van Suid-Afrika ook al, hoegenaamd haalbaar was, is eintlik irrelevant. Afrikaners, wit en bruin, vorm vandag saam 'n minderheid in die geheel van Suid-Afrika, terwyl hulle taal nie meer die beskerming geniet wat dit in die bedeling van vóór 1994 gehad het nie. Daarby het Afrikaans deur die geografiese verspreiding van sy sprekers oor die hele land ook nooit 'n afgebakende territorium verwerf wat dit volgens J.A. Laponce in sy studie oor Languages and their territories 'n sterker kans op oorlewing kon gee nie.1. In die eksemplaar van sy eerste roman, Nog skyn die sterre, wat Rabie in 1943 aan sy ouers skenk, skryf hy: ‘As alles eers verby is weet jy dat dit nie die ideaal is wat belangrik is nie, maar net die feit dat jy een gehad het.’ In hierdie woorde lê ook die antwoord op sy nastrewe van die groot ideaal wat hy vir homself en Afrikaans gestel het. ‘Ek het 'n droom’, skryf hy teen die einde van sy lewe, waar Afrikaans, en nie velkleur nie, landwyd die nawelstring sou wees van 'n groot Afrikaanse land, 'n Afrikaanse droom. Tevergeefs? Moet ek sê: Ek hád 'n droom? Was die nuwe droom nooit die amptelike rassistiese fasade nie, maar al die tyd die vormlose moederloog wat alle soorte basters, al die ander se uitskot ontvang en nederig, ongereken, tot nuwe geboorte begin gis het? Sal die gulle baniere van die toekoms nie slegs bo swart hande wapper nie? Omdat die embrio Afrikanerdom te klein was vir nasiebou? Dus: ek hád 'n droom? Of kan 'n mens 'n droom skryf tot hy leef?2. Dat hierdie droom enigsins romanties verwoord word, verander niks aan die geldigheid van daardie droom nie. Rabie skryf verder: ‘As genoeg J.C. Kannemeyer, Jan Rabie. Prosapionier en politieke padwyser 13 mense van enige ras of kleur Afrikaans liefhet, sál dit oorleef. En 'n mens moet droom, want niemand mag die toekoms ken nie. En as mense lank genoeg droom, oor iets, word dit dan nie uiteindelik waar nie? Is enigiets nie moontlik in die planeetwye stormtye wat ons planeet tans beleef nie?’3. Waarskynlik is dit hierdie groot droom en die vaste oortuiging van die geldigheid daarvan wat, saam met sy diep menslikheid en sy deernis met ander mense, Rabie in die bewondering van sy tydgenote en jonger skrywers laat styg het. Meer as een het die mening uitgespreek dat, hoewel daar groot waardering vir sy beste werk was en 'n bundel soos Een-en-twintig sinvolle voortsetting by jonger skrywers ontlok het, Rabie deur sy taak as pionier en padwyser aan latere skrywers se ideale sin en rigting gegee en dat sy voorbeeld, meer nog as sy skeppende werk, inspirerend op andere ingewerk het. Daarby was hy 'n profeet wat reeds vroeg in die vyftigerjare, toe selfs destyds gevestigde skrywers nie op sy vermanende woorde ag wou slaan nie, gesê het dat Afrikaans uiteindelik die prys vir die regering se apartheidsbeleid gaan betaal. Dit is hierdie profetiese woorde en die groot droom vir die Afrikanervolk én vir Afrikaans wat my persoonlik beïndruk het toe ek met die oog op hierdie biografie die Rabie-dokumente in die Dokumentesentrum in die J.S. Gericke-biblioteek aan die Universiteit van Stellenbosch begin verken het. Ek het Jan Rabie die eerste keer in 1959 as student persoonlik beleef toe hy die Afrikaanse Studiekring op Stellenbosch kom toespreek het. In die sestigerjare, toe ek verbonde was aan die Universiteit van Kaapstad, het ek hom skrams leer ken. Dit was egter eers in die sewentigerjare, nadat ek my ná 'n kort periode in Johannesburg, weer in Kaapstad en later Stellenbosch gevestig het, dat ek hom en sy vrou, Marjorie Wallace, dikwels in hul huis op Onrus kon opsoek en beter kon leer ken en waardeer. Ek meen dat die waardering vir Jan Rabie en wat hy met sy drif en besieling vir die Afrikaanse letterkunde was, sedert sy siekte in die negentigerjare en sy dood in 2001 toegeneem het. My verkenning van Rabie se dokumentasie het 'n aanvang geneem in Maart 2002. Hierdie dokumentasie bestaan, naas Jan se gepubliseerde en ongepubliseerde werk, aantekeningboeke en korrespondensie met skrywers, uit die reeks dagboeke - die belangrikste biografiese bron oor sy lewe - wat hy sedert 1948 tot die begin van sy langdurige siekte volgehou het. Met die werklike skryf van die manuskrip het ek begin in Januarie 2003 en dit finaal op 30 Junie 2003 klaargemaak. Tydens my navorsing en J.C. Kannemeyer, Jan Rabie. Prosapionier en politieke padwyser 14 die skryf van die manuskrip was die Rabie-versameling nog nie deur die personeel gekatalogiseer nie, sodat ek in sommige gevalle dokumente slegs vaag as deel van dié versameling kon aandui en nie na 'n spesifieke indeksnommer kon verwys nie. Dit geld in die besonder vir die dagboeke wat Jan ná sy terugkeer uit Parys gehou het. By die voltooiing van hierdie werk wil ek in die eerste plek Marjorie Wallace bedank wat my volle toegang tot Jan se dokumente gegee het en bereid was om my in twee lang onderhoude en talle latere gesprekke inligting te verskaf en na mense te lei wat my verder kon help. Dit was my voorneme om by 'n latere geleentheid oor enkele sensitiewe sake verder met haar te praat, iets waarvan ek ná haar ernstige beroerte op 3 Maart 2003 afgesien het. Deur haar het ek kennis gemaak met twee van Rabie se broers, At en Louw - albei intussen oorlede - wat veral oor die jeugjare besonderhede kon verstrek, terwyl 'n ander broer en die enigste oorlewende suster, Carel Rabie en Sannie van Heerden, per brief inligting kon verstrek. Naas die foto's wat ek van Marjorie ontvang het, is ek besondere dank verskuldig aan Annette Rabie, At se weduwee, en haar dogter, Liesl Rabie, wat ook baie fotomateriaal verskaf het.
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