MDDM Ch 14 Summary

[jbor]

(Filling in for Sam, who is away on business.)

Mason on St. Helena wonders about Dixon, and writes a letter to his mate,
which he does not send. (Parenthetically, the twins interrogate Wicks about
this letter, and Wicks, not answering, 'blesses' the precocious duo with a
coin each to invest in order to raise capital to bribe judges when they
become attorneys.) Mason thinks of Dixon's daily rituals, and wonders how he
could possibly again face the girls, gases, and gossip at Chez Vroom - let
alone the "great Worm of Slavery" upon which the society is founded.
(147.10) This provides the transition to a recount of Dixon's exploits at
the Cape.

***

Apparently, a public scandal had arisen after M & D's recent departure:
rumours of a dalliance between Mason and Johanna, which Johanna, even
knowing these rumours to be unfounded, seems to be nurturing for the "thrill
of shame" of the imposture. Cornelius, enraged, takes it upon himself to
seek "satisfaction" by blasting Dixon, as Mason's "substitute", with his
Elephant Gun. He chases Dixon along the busy street in the wind. Fortunately
he is a terrible shot. Eventually Dixon turns and charges like a wild animal
at Cornelius, who becomes flustered by Dixon's sudden show of bravado as
well as his wryly comical patter. Dixon then leads Cornelius into what he
believes is *his* "Local,-- The World's End". (148.36)

They drink, and Cornelius spills his sorry tale of woe, as young Dutch
trollops come to pick up sailors. The air is intoxicating with the smoke of
"Opium, Hemp, and Cloves".

Austra enters, collared and "leash-led" by a Malay girl. Her presence seems
to have been "arrang'd", perhaps even by Cornelius (but how ...?), and the
Dutchman suddenly and unexpectedly assumes the role of habitué of this den
of debauchery, and he now leads Dixon deeper within the "Church", where
"Slave Women ... serve as dreamy, pliant shadows." (151.13)

Interesting, if somewhat cynical, exposition about good and evil "miracles".

After Curfew an ominous change seems to take place in the pub. There are
forbidden rooms and chambers of torture, and "Madmen" are given regular
access to the slave girls for the "enjoyment", as spectacle, of the Herren.
There are even rumours of a "scale-model" version of the Black Hole of
Calcutta into which the slaves, "impersonating Europeans", are forced,
squirming together in "shar'd sweat, piss and feces" for the erotic delight
of the Dutch masters.

Wicks does not read the description of this cell, but skims ahead to "the
Moral", which is a fierce anti-colonialist screed presented in dialogue
form. 

Cornelius vanishes into "the Room of Beasts" - "Let's go, Simba", says the
prostitute.

Dixon wanders around, finds Bonk at the bar. Bonk has resigned his post and
is heading north to become a farmer. He ruminates about what gun to
purchase, worried that he hasn't yet learnt to shoot and reload while on
horseback.

Dixon carries Cornelius home at Dawn. The three daughters flirt with Jere,
and he suddenly sees them in a different light - as Mason saw them perhaps -
members of a new generation whose cultural outlook has become hybridised due
to the fact that the Cape is the only society they have ever known.

The girls believe that the family clock is a "living Creature, ... they call
it 'Boet', the traditional name, here, for an elder Brother." (155) Greet
warns Dixon that he is under suspicion, then rips her bodice apart as if to
threaten blackmail. Dixon is non-plussed, so the girl's attempt to seduce
him (?) is foiled.

Dixon's dossier at the Castle has been "flagg'd in Yellow" because of
suspicions about his real purposes and Jesuit connections. But, ironically,
the increased mistrust and surveillance permit him as much liberty and
lassitude as ever, even more, perhaps, than the permanent residents.

best