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The Individual, Auto/biography and History in South Africa

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In addition to Shakespeare <strong>and</strong> the story of Tristan <strong>and</strong> Isolde, the art of Chapl<strong>in</strong> was an<br />

undoubted source of <strong>in</strong>spiration. Taylor reflected upon their mutual regard for Chapl<strong>in</strong><br />

<strong>in</strong> her journal. While the medium of film may have been “debased by mass production”,<br />

she wrote, Chapl<strong>in</strong> had an ability to “translate his personal experience <strong>in</strong> childhood <strong>in</strong>to<br />

a universal waifdom”. After hav<strong>in</strong>g listened to a record at Taylor’s house, which made<br />

him th<strong>in</strong>k of “a bird with a broken w<strong>in</strong>g”, Tabata went to see the film, Limelight. Even<br />

though Taylor could not have viewed it with him legally, Tabata knew that she “was<br />

watch<strong>in</strong>g it ‘with’ him”. And when he called her afterwards to talk about it, he was “too<br />

moved to say much” as his “heart was broken [to see] a great artist die”. 26 This shared<br />

knowledge was the source of the phrase “broken w<strong>in</strong>g”, 27 which Tabata used regularly<br />

<strong>in</strong> his communication with Taylor. Alongside Shakespearean references, this also<br />

represented a layer of shared mean<strong>in</strong>gs between them as they found common ways of<br />

process<strong>in</strong>g their vulnerabilities <strong>and</strong> <strong>in</strong>securities <strong>in</strong> their authorial positions as creative<br />

<strong>and</strong> political writers.<br />

This cultural communion opened up layers of feel<strong>in</strong>g, passion <strong>and</strong> mutual attachment<br />

that made Taylor <strong>and</strong> Tabata sensitive to each other’s emotional temperament,<br />

especially as this affected their writ<strong>in</strong>g. For Taylor, her own childhood had been<br />

characterised by “rootlessness”, which was the cause of her “uncompromis<strong>in</strong>g attitude<br />

to family relations”. Her experience of be<strong>in</strong>g ab<strong>and</strong>oned <strong>and</strong> adopted <strong>in</strong> those first years<br />

of her life had made her “stunted <strong>and</strong> warped through lack of a child’s first necessity,<br />

security”. It also guided her “<strong>in</strong>tuitively rather than by reason”. This “psychology of the<br />

child” as “the human be<strong>in</strong>g who doesn’t belong” was also “the psychology of the whole<br />

people <strong>in</strong> SA ‐ the Non‐Europeans”. This personal aff<strong>in</strong>ity should have enabled her “to<br />

write truly” about the social conditions of the oppressed. Tabata’s early years, on the<br />

other h<strong>and</strong>, had been “rooted … <strong>in</strong> a happy family life” <strong>and</strong> this, she felt, had given him<br />

“a basic security <strong>in</strong> himself”. 28<br />

26 Dora Taylor, Extended Diary, Entry for 20 August 1953, Dora Taylor Papers.<br />

27 Dora Taylor, Extended Diary, Marg<strong>in</strong>al Note added <strong>in</strong> 1976 to Entry for 20 August 1953, Dora Taylor<br />

Papers.<br />

28 Dora Taylor, Extended Diary, entries for 6 May & 6 August 1953, Dora Taylor Papers.<br />

406

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