29 pages • 58 minutes read
Nadine GordimerA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
The nine-year-old narrator of “The Ultimate Safari” remains unnamed and is never described throughout the story. She does not use colloquial phrases or slang but communicates in stark, simple language. The intentional omission of these details allows the reader to picture any young girl as the narrator of this tale. She is the universal image of innocence and doubles as a symbol of innocence under attack. She is moral, kind, honest, and sincere but also naive, vulnerable, and unskilled. The girl is at an age at which she is old enough to be aware of her surroundings and events unfolding around her but not old enough to understand the forces that created them. As such, she is a somewhat unreliable narrator for the story, as she can deliver no context, analysis, or opinion on the war.
The girl narrates her experience without emotion and without describing her opinions on what transpires. She does not understand what is happening and notes that she only knows she is hungry, scared, or alone. It is not until the final paragraph that the girl expresses an opinion, a unique thought, or an idea of force: that she believed that she would return to her home and family after the war. Based on the story’s context, Gordimer uses this idealistic and naïve opinion to end the story with a stark sense of pathos.
At several points in the story, the girl describes herself using animals. In the opening lines she is a chicken hunted by a dog. When she is hungry in Kruger Park she is a hyena, ashamed to be hunting for scraps. She describes her baby brother as a monkey clinging to its mother. In the park, the guide says, “we must move like animals among the animals” (5), and they do. Gordimer hence suggests that the girl is at the mercy of the brutality of the animal kingdom that, paradoxically, humans rather than animals exhibit throughout the story.
When all hope is lost for the three children in the short story, a hero arrives in the form of the children’s grandmother. The strong-willed, able-bodied grandmother in “The Ultimate Safari” saves her grandchildren even as she loses her husband, her home, and her belongings. Like the narrator, the grandmother remains unnamed.
She is the typical caregiver who continually supports others at great cost to herself. She is loyal to the grandchildren, the continuation of her family’s line, and their joint survival even as she sacrifices her own physical and emotional health. “As long as our bodies survive,” she says of the suffering (8). She lacks ambition beyond her caregiving and neglects her own self-care. At the height of her suffering, her breasts are exposed but empty as a symbol of her sacrifice and self-neglect and her inability to fully care for the children for whom she sacrifices.
Gordimer explores the human spirit through the grandmother character, depicting her as a tireless worker driven to help her grandchildren towards a better life. Hope, resolve and determination are her key characteristics, and she is the backbone of the story, the reason the children survive, and their sole hope. However, at the critical closure of the story, the grandmother admits that she herself has no hope, destabilizing the reader and highlighting the devastating effects of war.
The grandmother is the opposite of the little girl: aware of the horror of the war raging around them and the hopeless situation they face if they do not flee. Where the child is ignorant, the grandmother is informed. She represents the stark reality of the decisions and choices faced by a refugee. She is at once both a cork on the sea of an unforgiving history and a character who changes the protagonist’s destiny through her selfless caregiving.
The unnamed grandfather character is a foil to grandmother. He is diminutive, swimming in baggy clothes, nonverbal and weak. His only decision in the story—a moment of heightened dignity when he decides to relieve himself in privacy—results in his death. He remains static throughout the story, changing little from the first introduction to his wordless disappearance. He is not mourned or wept for, and no hymns are sung for him as they are sung for the mother who goes missing at the opening of the story. He arrives and departs the story without fanfare and without most noticing. His existence in the lives of his family members is inconsequential, and his disappearance, though traumatizing, is quickly forgotten.
The grandfather is a symbolic character: a depiction of what happens to a population beat down by an oppressive regime, unending war, famine, and chronic hopelessness. After the trek through Kruger Park, the girl notes that her older brother has begun to look like grandfather, representing another generation ruined by the war. The trials, starvation, and hopelessness leads to a state of inaction that replicates that of the grandfather.
The young narrator is too innocent to interpret the cause for the grandfather’s depleted appearance, though she notes that in the past he had livestock and a garden. This implies that in the past the grandfather was a more lively, robust, and opinionated character who had a quiet dignity that was taken from him by the war.
As the refugees traverse the brutal landscape of Kruger Park, they hide not from the animals but from white tourists on safari. They know that to be spotted would mean that the park guards and park police would return them to Mozambique, where they will surely be killed. These white South Africans and European tourists on safari represent How Ignorance and Apathy lead to Subjugation. It is this apathy that Gordimer addresses in the story to spur action by breaking readers’ apathy and converting it to empathy for the refugees fleeing war.
The story opens with an actual travel announcement in a British paper in 1988, the year the story takes place, in which tourists are encouraged to go on safari with guides who “know Africa.” When Gordimer finally represents the tourists who presumably answered the advertisement in the opening, it becomes immediately clear that they are not seeing the real Africa. Safely behind fences and guarded from danger, the tourists will never experience real Africa. With this, Gordimer is pointing out the hypocrisy of the advert, the illogicality of a white tourist wanting to know the real Africa in the middle of war, and the insensitivity of touring a war-zone-adjacent park.
Gordimer highlights the dichotomy between the harsh realities of war and the inauthentic, glamorized hardships of an African safari. Though war rages across the border, tourists in Kruger Park appear little impacted by events nearby. They stay within their gated camps, cook, eat, and toss out leftover food. When the refugees ask their guide if they can beg for food or scour the trash for scraps, they are discouraged. There is a bubble of protection around the tourists that does not and will not exist for the Black refugees. This dichotomy draws attention to the unfair nature of the refugee experience.
By Nadine Gordimer