Yellowing Africa Memories And Shades Of Dark Safaris

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There are the experiences we had, and the ones we think we had: so many versions of the ‘truth’. And much like conscious memory, the Kodak negative from which this image comes, is much degraded; the colours distorted. I’ve had to do some de-saturating to reduce the negative’s livid cast. Not very successful, but the result, I think, is all my own  ‘Out-of-Africa-nostalgia’ effect.

Naturally my writer-self loves the romance of this and related yarns of the old safari era. And yet these are not the real story. They never were. That’s one of the problems with nostalgia, particularly the Anglo-African variety. It’s usually a longing for something that never was. It was the kind of longing that brought British settlers of the gentry class out to East Africa in the first place. Anything would grow there, they said. Fortunes would be made. And until the predicted riches rolled in – from ostrich feather farming, flax, wheat, coffee and tea –  the hunting potential for the sporting man (and sometimes woman) was limitless – herds of wild game from sky to sky, and a country full of cheap household servants and farm labourers. And all so handily available just when home supplies of both (animal and human) were on the wane.

Here’s a poster of the time, pre-1920, summing things up. The similarity to a Punch Magazine cartoon was apparently deliberate.

Uganda Railway and aristratic game resort

As railway advertisements go, this one truly takes the biscuit, and on so many fronts. Please note the very small print towards the bottom: ‘Arrival of the first Cook’s excursion and the result of carefully preserving the big game’. Also I’m not sure what the bipedal beast behind the train is meant to be. It looks like a bear to me. Perhaps he came with the aristocrats, captured on one of their North American shooting expeditions – also popular at the time.

So: elite settlerdom in East Africa seemed a fine idea. And as long as the European lower classes were kept out, the incomer Indian labourers and traders kept in their place (these mostly the survivors of the 18,000 ‘coolies’ imported  from India in 1896 to build the Mombasa-Uganda Railway), and the local Africans did the field work for minimal pay while their own traditional hunting practices were outlawed, then, by Jove and St. George, it would be paradise on earth. The British East Africa Protectorate (Kenya Colony after 1920) was, and forever would be, a dedicated White Man’s Country. A lordly sporting estate writ large. The happy hunting ground of new white landowners who believed that only they, gentlemen (and under certain circumstances, gentlewomen) had the god-given right to hunt. All the game was theirs.

Uganda railway poster

But hang on a minute. In this safari story the real protagonists are invisible, or overlooked, deliberately excluded; these, the many African hunters and expert trackers who facilitated the pursuits of their white overlords on the imperial safaris of the early 20th century; they who risked arrest for the crime of poaching if they dared to hunt for their own pot as their people had done for countless generations before the British invaded.

It is not for nothing that the settlers referred to their African workers as boys, reducing them to beings of little or no account. From such aristocratic notions of superiority and entitlement – a mind-set that persisted among many until Independence in 1963 – does the modern state of Kenya derive. In some ways little has changed. Ever since Uhuru, the post-colonial rulers (and with a similar sense of dynastic entitlement) have been intent on commandeering all resources for themselves, and ignoring the needs of those they rule.

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But back to the aging photo of magnificent beisa oryx. It  was taken nearly 20 years ago. The Farrells were, in the manner of Kenya’s  well-honed, post-colonial tourism model,  ‘on safari’; flown in a twenty-seater plane – out of Nairobi and into Lewa, winging left at Mount Kenya.  Touching down on the airstrip cut from bush you could spot elephant and the strangely foreshortened view of Mount Kenya’s summit.

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Our destination was a small tented camp in Laikipia, northern Kenya, a three night sojourn out in the wilds. I should say at once that when we stayed at the Lewa Downs safari camp it had not accrued the expensive, life-style look it has now, nor the uber-nouveau-colonial glamour of Lewa House and its secluded guest cottages. (Prince William apparently proposed to Kate Middleton while staying there as a family guest). In our day we had a big green tent, one of a dozen. There was a small shower room and WC attached, and the whole lot camouflaged by a thatched canopy. When the flaps were back we could lie in our bunks and gaze at miles and miles of Africa  and inhale the sweet aromatic scent of thorn brush. The accommodation was simple and functional although we naturally thought a tent with its own clean, running water and a flush loo was a great luxury. But then as many travellers in Africa before us, and in pursuit of our own pleasure, we chose to ignore any moral issue associated with this provision. The camp was otherwise low-key, mostly set up to attract birding photographers, and one of several similar small camps run by the East African Ornithological Society.

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The camp we stayed in occupied a small corner of the Lewa Downs estate, once a colonial cattle ranch staked out from former Maasai grazing territory in 1922 under the British government’s post-war Soldier Settlement Scheme. The colonial administration’s plan at that time was to double the colony’s European population. Meanwhile the Africans’ side of the story was as follows. All Kenya’s indigenous peoples had to live on their allotted tribal reserves unless they were working for Europeans. They could not acquire land outside the reserves. All men over the age of sixteen had to wear the kipande pass book containing their work record. All Africans paid poll and hut taxes, which had just then been increased to recoup costs from the European war effort. Taxation also had the aim of impelling Africans into the labour market. Africans who had served in the Great War were not eligible for the new settlement land (10,000 soldiers, 195,000 porters of whom 50,000 had perished).

For Europeans, however, that it is to say for ‘men of the officer class’, there was on offer by lottery or at cheap rates, large blocks of land in the fertile Central Highlands and the Laikipia Plateau below Mount Kenya. Officials apparently believed that such men, newly returned to civilian life and most with little or no practical farming experience, would in an untried African environment,  produce export quantities of cash crops. This trade in turn would fund the upkeep of 600 miles of now largely purposeless, but very expensive Mombasa-Uganda railway that the colonial administration had built between 1896 and 1901. (Also known as the Lunatic Line).

The railway’s original purpose was to provide access to land-locked Uganda, then believed to be the future source of vast natural resources. There were strategic reasons too. In the last decades of the 19th century, during the big European land grab of Africa, relations with Germany had become increasingly scratchy, and especially over possession of Uganda. British paranoia raised the spectre of the Germans sabotaging the source of the Nile at Jinja in Uganda, thereby scuppering Britain’s major shipping lanes in the faraway Suez Canal which relied on Nile water. Once thought of, only a railway would serve to bring troops swiftly to the scene to defend the vulnerable head waters.

Africa 1914 (St. Francis High School website)

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Twenty years later, these functions unrealised or redundant, only large-scale European settlement would make the best of a bad job. Along with this ‘House that Jack Built’ mode of thinking was the idea that veteran officers, used to handling men, would be well fixed to manage and ‘civilise’ (i.e. instil discipline in) African labourers, this despite knowing nothing of their employees’ traditions or way of life or their language. Also if things went wrong at some future time, an uprising for instance, the officer chaps would usefully know how to handle a gun and not be afraid to use it.

As I’m writing this, I’m thinking that it sounds like a very bad joke with a dollop of Wodehouse daftness thrown in. But this is how the British Empire did things in East Africa. They were not prepared to invest in indigenous Africans, but they were prepared to take a punt on the ‘right sort’ of Europeans of whose farming prowess they knew not one single thing.

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Roll forward 96 years…

Today Lewa Downs is still owned by descendants of the Craig/Douglas families who began the ranch. But now, and in cooperation with local indigenous communities, and the Kenya government, the owners use their 62,000 acres not for farming, but to protect threatened wildlife. Among their wards are populations of black and white rhinos whose territory is watched over around the clock by vigilant rangers, and whose horns are defended from poachers by armed Kenya Police Reservists.

lewa a

It is an award-winning, avowedly non-profit-making enterprise that has set out to demonstrate that up-scale tourism can serve both wild life conservation and local community development. Other funding comes from donation and sponsorship, and a big proportion of the total income is spent on community projects including clinics, education,  water management schemes, and low-interest loans to kick-start women’s small businesses.

Anyone who stays at Lewa Conservancy can be guaranteed unforgettable experiences – the full-on African wilderness, magnificent game viewing in breath-taking country, the chance to see how some of the tourist dollars are being spent. There are bush breakfasts, night game drives, camel riding, and star bathing. It would seem to be the 21st century eco-socio-sensitive take on the self-serving champagne safaris  of the 1920s and ‘30s when white hunters – John Hunter, Bror Blixen and Denys Finch Hatton et al – ran commercial shooting expeditions for the elite of Europe, India and America.

And while the trophies these days are photos and memories, and not elephants’ feet, tusks and antelope heads, and while the safari guests’ presence may help to fund laudable causes, and not the free-booting life-styles of maverick aristocrats and misfit adventurers, still the packaging of today’s safaridom evokes something of the old elitist romance. If we don’t watch out it clings like a parasitic infection and blinds us to the many ironies.

But have a look for yourself at what the Lewa Conservancy is doing for people and wildlife. The model is not without its critics. Other settler descendants have pointed out that big landowners who stayed on in Kenya after Independence have been increasingly under pressure to start sharing their acres if they were not seen to be doing something very useful with them. The Craigs and their management team seem to have come up with quite a solution. The safari story continues…

copyright 2018 Tish Farrell

 

 

 

My Most Read Post in 2014:

Caught inside a Kikuyu garden: a memorial to Karen Blixen’s lover, Denys Finch Hatton

I wrote this piece back in March. Every day since several people have clicked on it, and on one single day in the summer this rose to 170 viewings. I have no idea why this happened, or why, judging by the search terms, Denys Finch Hatton’s grave in Kenya’s Ngong Hills is of particular fascination.  I thought it was just me who was fascinated. Anyway, here is the post again – a tale of loss and romance in the tropics. It is timely perhaps too, since in the UK at least, now is the season for showing Sydney Pollack’s film Out of Africa once more on TV. Happy Holidays everyone.

Denys Finch Hatton obelisk Ngong Hills

This was not supposed to happen. In fact you could say it adds insult to irony:  that a man so steadfastly dedicated to an unfettered life in the wilds should, in death, end up hemmed in, and so very domesticated within this small Kikuyu shamba. Yet here it is, the mournful stone obelisk, marking  the grave of Denys Finch Hatton,  son and heir of the 13th Earl of Winchilsea, Great White Hunter, and lover of two women far more famous than he is: writer Karen Blixen (Out of Africa) and aviator  and race horse trainer Beryl Markham (West with the Night).

Finch Hatton's grave on the Ngong farm

Yet another woman, the one whose shamba this is, shows him a new kind of love, taking care of the garden around the obelisk.  If you want to visit the place it is not easy to find – either her little smallholding on the Ngong Hills, or the grave within. When we visited years ago we found only a hand-painted signpost nailed to a tree. We parked in a paddock outside the farmhouse door and were charged a few shillings. We could have bought a soda too, if we’d wanted. We could not see the grave though, and soon found that it was deliberately hidden from view by an enclosure of  old wooden doors. More irony here of course. More symbols of shut-in-ness.

Denys spent most of his life in Africa avoiding any kind of confinement – out  in the Tsavo wilderness, running shooting safaris for the rich and aristocratic. His clients included the Prince of Wales (later Edward VIII) . In fact it was during the safaris for the Prince in 1928 and 1930 that Finch Hatton began to promote shooting on film rather than with a gun.

His lover, Karen (Tanne), Baroness von Finecke-Blixen lived in a small house below the Ngong Hills, some twelve miles outside Nairobi. By the time she started her affair with Denys she was divorced from her charming, but philandering husband, Bror, although they always remained friends. Her family had invested a great deal in the couple’s coffee farm, and Karen struggled to make a success of it. But the location was entirely wrong, and in the end she was forced to sell up and leave Kenya. It was during the period of selling the farm that she heard news of Denys’s death.

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Looking towards the  Ngong Hills from inside the veranda at Karen Blixen’s house. The house now belongs to Kenya’s National Museums.

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Denys Finch Hatton’s untimely end may be put down to his passion for flying. For those of you who remember Sydney Pollack’s 1985 film Out of Africa, some of the most elegiac moments of the film are when the celluloid version of Finch Hatton  (Robert Redford)  takes Karen Blixen (Meryl Streep)  into the skies above the Rift Valley.  Denys died in his Gypsy Moth in 1931, and in unexplained circumstances. He was taking off from the airstrip down in Voi in southern Kenya when his craft exploded. He and his Kikuyu co-pilot were killed. Denys was forty four.

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View towards Nairobi from Denys Finch Hatton’s Grave, and overlooking another Kikuyu smallholding.

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By the time of his death, his relationship with Karen was  well on the wane, and he had already started an affair with the younger Beryl Markham. His biographer,  Sara Wheeler says in Too Close to the Sun, that there is circumstantial evidence to suggest that Beryl was pregnant with Denys’s child, but that she then had an abortion. To have known this would have truly broken Karen Blixen’s heart: her letters show that she had longed to have a child with Denys.

With yet another twist of irony, it was with his death, that Karen somehow reclaimed him, remembering that he had told her of his wish to be buried in the Ngong Hills. The spot he had chosen was one that Karen had decided on for her own grave.

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Denys Finch Hatton

Karen Blixen with her deerhound Dusk.

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“There was a place in the hills, on the first ridge of the Game Reserve, that I…had pointed out to Denys as my future burial-place. In the evening, while we sat and looked at the hills from my house, he remarked that then he would like to be buried there himself as well. Since then, sometimes when we drove out in the hills, Denys had said: ‘Let us drive as far as our graves.’ Once when we were camped in the hills to look for buffalo, we had in the afternoon walked over to the slope to have a closer look. There was an infinitely great view from there; the light of the sunset we saw both Mount Kenya and Kilimanjaro. Denys had been eating an orange, lying in the grass, and had said that he would like to stay there.”  Out of Africa

The obelisk was only put up later by Denys’s brother. During Karen’s last days in Kenya she had the site marked with white stones from her own garden, and as the grass grew up after the long rains, she and Farah, her Somali house steward, erected a pennant of white calico so she could see the spot from her house, some five miles away.

Sometime after she had returned to Denmark she received a letter with some strange news about the grave:

“The Masai have reported to the District Commissioner at Ngong, that many times, at sunrise and sunset, they have seen lions on Finch Hatton’s grave in the the Hills. A lion and lioness have come there, and stood, or lain, on the grave for a long time…After you went away, the ground round the grave was levelled out, into a sort of big terrace. I suppose that the level place makes a good site for the lions, from there thy can have a view over the plain, the cattle and game on it.”  Out of Africa

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copyright 2014 Tish Farrell

Quoting Creatively: the ‘Out of Africa’ connection

Ngong Hills, view of Rift Valley to the west

I may be wrong about this, but doesn’t John Barry’s Out of Africa film score owe just a little something to George Butterworth’s Shropshire Lad Rhapsody? Both works ride on a swell of yearning for a life, a love, a land that is lost or unobtainable. Both composers are English, and Barry probably knew Butterworth’s small body of very English song-cycles. (Butterworth died in 1916, a casualty of World War 1).

Of course, the influence of one composer upon another is common enough, and could well be subconscious. On the other hand, Barry might have chosen deliberately to nod to the earlier work. There are many reasons to do so, and it all begins with that other very English creation, the collection of poems called A Shropshire Lad, by A.E.Housman, the work that inspired Butterworth’s Rhapsody and the several Housman poems that he set to music.

I have written elsewhere how this collection of ballad-type poems inspired several composers in their works, and not only Butterworth, but also Vaughan Williams and Ivor Gurney. At the time when I wrote that post, I had not thought about the Out of Africa film connection. But now I have thought of it, my interest is rather personal.

Firstly, as a writer who has worked with several illustrators, I like the way one artist’s creativity can provide inspiration for other artists’ work. Indeed, when it comes to A Shropshire Lad, there is a veritable multiplier effect of allusion and quotation in other works throughout the twentieth century. This includes Dennis Potter’s disturbing play Blue Remembered Hills (A Shropshire Lad poem XL).

Secondly, Housman’s poems, and in particular the music they inspired, make reference to Wenlock Edge and the town of Much Wenlock where I live.

Thirdly, I have also lived in Kenya, the country that inspired Karen Blixen’s Out of Africa.

And fourthly, in the script of Sydney Pollack’s film of the same name, which derives more from the biographies by Judith Thurman (Isak Dinesen) and Errol Trzebinkski (Silence will Speak) than from Karen Blixen’s book, includes two very striking quotations from A Shropshire Lad.

Both arrive towards the end of the film, and both relate, directly and indirectly to Denys Finch Hatton, Karen Blixen’s lover who died in an unexplained plane crash at the age of 44. For more of their story go HERE.

The first and most heart-rending is at the burial of Finch Hatton up in the Ngong Hills. Meryl Streep as Karen Blixen reads, not from a prayer book, but from a book of poetry, and the poem she reads is poem XIX To An Athlete Dying Young. This is the final stanza:

And round that early-laurelled head

Will flock to gaze the strengthless dead,

And find unwithered on its curls

The garland briefer than a girls.

 

(You can read the whole poem HERE)

While I can find no biographical reference that supports the reading of the poem at the actual burial, I can only say that it could not have been more aptly chosen. In other words, if it is a Hollywood invention, then it is a good one. It adds to our understanding of both Blixen and Finch Hatton in real life.

Denys Finch Hatton had rare glamour.  He was man who was adored and admired by men and women alike. He was a consummate sportsman, a soldier, hunter. He was an elusive adventurer and the son of an English Lord. As a great lover of poetry  he would doubtless have known A Shropshire Lad very well. More importantly, he is said to have had a pathological fear of growing old, and was ever to be seen wearing a hat once his hair began to thin.

In her biography of him Too Close to the Sun, Sarah Wheeler makes the analogy with Icarus. This too is apt. With his shocking death, burned in his plane, the self-regarding sheen of aristocratic settler life was diminished. The film’s burial scene thus prepares us for Karen Blixen’s final exile from Africa. Loss piles on loss.

Before she leaves the country, the film shows her being treated to a drink in the ‘gentlemen only’ bar of Muthaiga Country Club, a restriction which she apparently infringed when first arriving in British East Africa. The toast she gives her hosts is one said to have been used by Denys:  ‘rose-lipt maidens, lightfoot lads’.  This comes from poem LIV:

With rue my heart is laden

For golden friends I had,

For many a rose-lipt maiden

And many a lightfoot lad.

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By brooks too broad for leaping

The lightfoot boys are laid;

The rose-lipt girls are sleeping

In fields where roses fade.

 

So where are these quotations taking us? What exactly is being evoked by their appearance in the film script?

It all comes back to the unobtainable or unclaimable: of the lost life, love and land that I mentioned in the beginning. The settlement by British and European aristocrats of British East Africa (Kenya) in the early years of the last century was an epic romance, one filled with the notion of noble master and faithful ‘noble-savage’  servants. There was the pitting of human courage and wits against the African wilderness; a wilful dance of death wherein sporting valour was supremely admired.  There was a notion of overbearing entitlement; that East Africa was their own country; that only they understood it. As a dream, it was bound to fail. It is a visceral longing for something that cannot be possessed.

For Housman the loss was for a love he could not have: another man. He was a respected academic who ultimately lived as a recluse. He wrote the entire collection of 63 poems while living in London, and without setting foot in the part of Shropshire that he evokes. Of this anomaly he makes the terse comment that, having grown up in the neighbouring county of Worcester, “Shropshire was on our western horizon which made me feel romantic about it.”

And here is where Out of Africa – book, film, and the true lives behind, find common ground with A Shropshire Lad; the ‘I had a farm in Africa, at the foot of the Ngong Hills’ moment; the sense of tragic romance, ‘The happy highways where I went and cannot come again.’ Those ‘blue remembered hills.’ The human condition of longing for something we think we had, or should have, but never can.

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And finally then the music. Below are renditions of Butterworth and Barry. (The first begins with the song Loveliest of Trees, poem II, from which the orchestral piece derives). Compare and contrast, or simply ride the emotional tsunami – across Africa, or Shropshire, or wherever you think your lost Paradise resides.

 

 

Related:

Songs from an Inland Sea: “On Wenlock Edge”

Caught inside a Kikuyu Garden: A Memorial to Karen Blixen’s Lover, Denys Finch Hatton

A E Housman A Shropshire Lad  A Gutenberg e-book

 

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Caught inside a Kikuyu garden: a memorial to Karen Blixen’s lover, Denys Finch Hatton

Denys Finch Hatton obelisk Ngong Hills

This was not supposed to happen. In fact you could say it adds insult to irony:  that a man so steadfastly dedicated to an unfettered life in the wilds should, in death, end up hemmed in, and so very domesticated within this small Kikuyu shamba. Yet here it is, the mournful stone obelisk, marking  the grave of Denys Finch Hatton,  son and heir of the 13th Earl of Winchilsea, Great White Hunter, and lover of two women far more famous than he is: writer Karen Blixen (Out of Africa) and aviator  and race horse trainer Beryl Markham (West with the Night). 

Finch Hatton's grave on the Ngong farm

Yet another woman, the one whose shamba this is, shows him a new kind of love, taking care of the garden around the obelisk.  If you want to visit the place it is not easy to find – either her little smallholding on the Ngong Hills, or the grave within. When we visited years ago we found only a hand-painted signpost nailed to a tree. We parked in a paddock outside the farmhouse door and were charged a few shillings. We could have bought a soda too, if we’d wanted. We could not see the grave though, and soon found that it was deliberately hidden from view by an enclosure of  old wooden doors. More irony here of course. More symbols of shut-in-ness. 

Denys spent most of his life in Africa avoiding any kind of confinement – out  in the Tsavo wilderness, running shooting safaris for the rich and aristocratic. His clients included the Prince of Wales (later Edward VIII) . In fact it was during the safaris for the Prince in 1928 and 1930 that Finch Hatton began to promote shooting on film rather than with a gun.

His lover, Karen (Tanne), Baroness von Finecke-Blixen lived in a small house below the Ngong Hills, some twelve miles outside Nairobi. By the time she started her affair with Denys she was divorced from her charming, but philandering husband, Bror, although they always remained friends. Her family had invested a great deal in the couple’s coffee farm, and Karen struggled to make a success of it. But the location was entirely wrong, and in the end she was forced to sell up and leave Kenya. It was during the period of selling the farm that she heard news of Denys’s death.

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Looking towards the  Ngong Hills from inside the veranda at Karen Blixen’s house. The house now belongs to Kenya’s National Museums.

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Denys Finch Hatton’s untimely end may be put down to his passion for flying. For those of you who remember Sydney Pollack’s 1985 film Out of Africa, some of the most elegiac moments of the film are when the celluloid version of Finch Hatton  (Robert Redford)  takes Karen Blixen (Meryl Streep)  into the skies above the Rift Valley.  Denys died in his Gypsy Moth in 1931, and in unexplained circumstances. He was taking off from the airstrip down in Voi in southern Kenya when his craft exploded. He and his Kikuyu co-pilot were killed. Denys was forty four.

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View towards Nairobi from Denys Finch Hatton’s Grave, and overlooking another Kikuyu smallholding.

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By the time of his death, his relationship with Karen was  well on the wane, and he had already started an affair with the younger Beryl Markham. His biographer,  Sara Wheeler says in Too Close to the Sun, that there is circumstantial evidence to suggest that Beryl was pregnant with Denys’s child, but that she then had an abortion. To have known this would have truly broken Karen Blixen’s heart: her letters show that she had longed to have a child with Denys.

With yet another twist of irony, it was with his death, that Karen somehow reclaimed him, remembering that he had told her of his wish to be buried in the Ngong Hills. The spot he had chosen was one that Karen had decided on for her own grave.

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Denys Finch Hatton

Karen Blixen with her deerhound Dusk

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There was a place in the hills, on the first ridge of the Game Reserve, that I…had pointed out to Denys as my future burial-place. In the evening, while we sat and looked at the hills from my house, he remarked that then he would like to be buried there himself as well. Since then, sometimes when we drove out in the hills, Denys had said: ‘Let us drive as far as our graves.’ Once when we were camped in the hills to look for buffalo, we had in the afternoon walked over to the slope to have a closer look. There was an infinitely great view from there; the light of the sunset we saw both Mount Kenya and Kilimanjaro. Denys had been eating an orange, lying in the grass, and had said that he would like to stay there.

Out of Africa

The obelisk was only put up later by Denys’s brother. During Karen’s last days in Kenya she had the site marked with white stones from her own garden, and as the grass grew up after the long rains, she and Farah, her Somali house steward, erected a pennant of white calico so she could see the spot from her house, some five miles away.

Sometime after she had returned to Denmark she received a letter with some strange news about the grave:

The Masai have reported to the District Commissioner at Ngong, that many times, at sunrise and sunset, they have seen lions on Finch Hatton’s grave in the the Hills. A lion and lioness have come there, and stood, or lain, on the grave for a long time…After you went away, the ground round the grave was levelled out, into a sort of big terrace. I suppose that the level place makes a good site for the lions, from there thy can have a view over the plain, the cattle and game on it.

Out of Africa

Scan-131109-0048 - Copy

copyright 2014 Tish Farrell

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Tish Farrell is an award winning writer for young people. Her latest novella is on Amazon Kindle (5 star review):

Secrets, conspiracies, tragedy, dark comedy – a fast-paced novella of interwoven tales set somewhere in East Africa. For young adults and adults alike.