Each funeral is an occasion for her to remind the family about the promise.
Yet Amor remains, transforming year by year from child into pure spirit, modestly acting to re-establish the central human and vividly absent virtue, kindness, in every aspect of her daily life. But a tiny sourness at the back of his throat seems always to have been there, though his life is pure and mild as milk.” Anton has potential but he too is weakened by the past, his family, himself. Rachel is barely there, Mani is his impoverished legacy, Astrid is irredeemable and therefore terminal and Anton, well, Anton is charismatic, dazzlingly intelligent, a man who “wants to eat the world. Ma, Pa, Astrid, Anton, are calibrated by four funerals. Faulkner pinned-down the same infection in The Sound and the Fury and, unsurprisingly, that Southern voice, both dry and urgent, is a constant echo in The Promise.
This landscape of unaccountability on one hand and untutored fury on the other mirrors Galgut’s hunt for the spiritual and moral malware introduced into the Swarts’ DNA all those generations ago.
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