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3.0 

The Pickup

By Nadine Gordimer
The Pickup by Nadine Gordimer digital book - Fable

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Publisher Description

The Nobel Laureate's psychologically penetrating story of the love affair between a rich South African and the illegal alien she "picks up" on a whim

Who picked up whom? Is the pickup the illegal immigrant desperate to evade deportation to his impoverished desert country? Or is the pickup the powerful businessman's daughter trying to escape a priveleged background she despises? When Julie Summers' car breaks down in a sleazy street, at a garage a young Arab emerges from beneath the chassis of a vehicle to aid her. The consequences develop as a story of unpredictably relentless emotions that overturn each one's notion of the other, and of the solutions life demands for different circumstances. She insists on leaving the country with him. The love affair becomes a marriage-that state she regards as a social convention appropriate to her father's set and her mother remarried in California, but decreed by her 'grease monkey' in order to present her respectably to his family.

In the Arab village, while he is dedicated to escaping, again, to what he believes is a fulfilling life in the West, she is drawn by a counter-magnet of new affinities in his close family and the omnipresence of the desert.

A novel of great power and concision, psychological surprises and unexpected developments, The Pickup is a story of the rites of passage that are emigration/immigration, where love can survive only if stripped of all certainties outside itself.

41 Reviews

3.0
““To continue in their present state: his situation in itself, alone determined this. He is here, and he is not here. It's within this condition of existence that they exist as lovers. It is a state of suspension from the pressures of necessity to plan the way others have to plan; look ahead. There is no future without an identity to claim it; or to be obligated to it. There are no caging norms. In its very precariousness the state is pure and free.” I was looking for a postcolonial novel to read with The Location of Culture by Homi Bhabha, and I happened to find this book, which really illustrates some of the main concepts the critic talks about. The Pickup centers on the cultural and romantic collision between a British South African girl, Julie Summers, and an illegal Arab immigrant, whom we first get to know by the nickname Abdu. The ensuing relationship captures the most common struggles a love meeting between peoples from different cultures often entails: the foreignness of the other language treated as silence, the oral void, problems of being and belonging, cultural translation and negotiation, and needless bureaucratic hassle. After her car breaks down in the middle of traffic, Julie is sent by her friends to a nearby garage, where a chance encounter comes to change the trajectory of her life. Julie falls in love with the mechanic, Abdu, an illegal Arab immigrant from an unnamed country. Far from reflecting a romanticized and pure version of love, their relationship is sexual from the start. And Julie’s emphasis on this is more pronounced compared to Abdu, whose character is marked by narrative suppression—we do get her perspective on all things, while his voice, in comparison, is shrouded with silence. This reflects the fact that he stands on the margins of society (the margins of the book), leading a nonexistence in the blind eyes of bureaucracy. The relationship develops and they decide to go to his home country, in which a drama on the perplexed nature of belonging comes about. The problem of belonging takes centerstage. Julie and Abdu are constantly looking for an ever-elusive sense of belonging. She finds a glimmer of hope in the most unexpected place. He, on the other hand, looks for it elsewhere, anywhere but home. We can say that for both home is always elsewhere. A second conflict lies in fatherly relationships. Julie challenges her father and refuses to ask him for help. Abdu contends with his father more symbolically. He does not acknowledge traditions and refuses to lead a life that custom entails. In the absence of the father, the uncle takes up the role—as father surrogate, a metonymic substitution for the biological father. Archie and Abdu’s unnamed uncle stand to fill this void. The narrative voice is contingent on the perceptions of Julie. She is the main character with whom we get to know and experience the text world and the other characters. Her love for Abdu isn’t imbued with undue romanticism or psychological projection. It is her intense sexuality that surfaces more often. Since Abdu’s narrative existence is seen as an extension to her own perceptions and being, we almost get the sense that she is the one who is objectifying him as her very sexual oriental prince. I love the subtle way Gordimer draws on this common stereotype of exoticizing the orient—something the western gaze has consistently done. If we see Julie experiencing the world from the vertical psychological dimension of meandering thoughts and emotions, Abdu is stuck in his quest of finding a way in the horizontal more social realm. He struggles with the bureaucracy that does not acknowledge him and limits his spatial experience of the world. He wants to be recognized socially and develop financially. Pure bureaucracy is what stands in his way. Papers and paperwork. In South Africa, we see him standing on the periphery, the borders of existence. Gordimer’s narrator aptly captures his sense of estrangement by putting his voice and perceptions on the margins—the marginal notes and glimpses Julie’s experience permits us to see. His feelings for Julie do not surface enough. Perhaps they are hidden beneath his oral void and later underneath his hardy preoccupation with securing visa permits. However, I would have loved to see a more feeling side to his character, something Gordimer either overlooked or purposely neglected. What makes this novel stand out is the way it exemplifies the main postcolonial struggles and concepts. Adding to this is the fact that the story is engaging and the writing is good¬—one of the best examples on postcolonial literature if you ask me. I do recommend it for anyone interested in the genre.”

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