Initially, the narrator is sympathetic. He agrees to help, viewing it as a gesture of goodwill. However, he quickly discovers that the state does not treat the bodies of poor Black laborers with the same respect as white citizens.
To retrieve the body from the morgue, the family needs a coffin. Furthermore, the government requires a payment of £20—a significant sum at the time—to release the body. The workers pool their meager wages, and the narrator contributes a few pounds to make up the difference. They purchase a cheap coffin and a hearse.
When the body arrives, another tragedy strikes. Due to bureaucratic bungling and the carelessness of the white authorities, the body is barely recognizable. It has been mishandled, and the young man’s face is disfigured. For the family, this is a devastating blow; the ritual of washing and honoring the body is essential for a good death.
Desperate to help his employee—or perhaps to absolve his own guilt—the narrator makes one final attempt. He writes a letter to the Secretary for Native Affairs, the highest authority, appealing the decision. Weeks pass. Finally, a reply arrives. It is a formal, typed letter, signed by a faceless official. The letter states that after careful consideration, the application for exhumation and transfer of the remains of “Native Johannes” is denied. The reason: the body has already been interred in a grave set aside for natives, and to exhume it would be “contrary to public health regulations and the principles of native administration.”
The narrator reads the letter to Petrus. He tries to soften the blow, to explain that he fought as hard as he could. Petrus stands in silence. Then, for the first time, the narrator sees a true emotion in his face—not anger, but a profound, silent grief and a dawning realization of the nature of the world he lives in. Petrus does not thank the narrator. He simply turns and walks away. six feet of the country by nadine gordimer summary
Later, the narrator learns that Petrus’s family in the reserves has sent money for a funeral—money that will now be used to buy a tombstone. But the tombstone cannot be placed on the grave in the pauper’s field because it is an unmarked common grave. Instead, Petrus erects a small wooden cross on a patch of the narrator’s own land—six feet of it, in fact. He tells the narrator that this is where his brother’s spirit now rests, since the body cannot be brought home.
The story ends with the narrator looking at that small cross on his property. He has given Petrus permission to use the land. But as he watches Petrus standing there, alone, the narrator feels no sense of resolution or moral victory. He realizes that all his efforts—his letters, his trips to officials, his indignation—have changed nothing. He could not give Petrus back his brother. He could not give him back the six feet of his country that mattered: the ancestral soil of home. All he has provided is a sterile, foreign six feet of dirt, owned by a white man, on a piece of land that was never really Johannes’s country anyway.
"Six Feet of the Country" is set on a farm near Johannesburg, South Africa, during the apartheid era. The story is narrated by a well-meaning but somewhat detached white farmer who employs several Black workers. The central conflict arises when one of the workers, a young man named Petrus, approaches the farmer with a request: his father has died unexpectedly.
In accordance with their rural traditions, the family wants to bury the old man properly on the farm. They ask the farmer for permission to use a piece of land—just "six feet of the country"—for the grave. The farmer, sympathetic but constrained by his own worldview, agrees. Initially, the narrator is sympathetic
However, the situation quickly becomes entangled in the rigid bureaucracy of the apartheid state. Because the deceased was not legally authorized to be on the farm, the white authorities intervene. The police demand a post-mortem, forcing the family to exhume the body. When the body is finally released after the autopsy, it has been handled disrespectfully, wrapped in a plastic bag rather than the traditional shroud.
The climax of the story occurs when the farmer attempts to retrieve the body from the city morgue. He arrives too late; the morgue has closed for the weekend. By the time the body is finally returned to the farm, decay has set in. The family is forced to bury a corpse that has been violated by the state and delayed by the farmer’s inability to navigate the system effectively. The story ends with the narrator reflecting on the tragedy, realizing that his sympathy was useless against the crushing weight of a system that denies basic human dignity.
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If you want, I can expand any section into a full-length essay (e.g., 2,500–4,000 words) with direct textual quotes and line-by-line close reading. "Six Feet of the Country" is set on
Nadine Gordimer ’s " Six Feet of the Country " (1956) is a poignant exploration of racial injustice and the dehumanizing effects of apartheid in South Africa. The story centers on a white couple living on a farm near Johannesburg who become embroiled in the bureaucratic tragedy following the death of an illegal immigrant laborer. Plot Summary
The unnamed narrator and his wife, Lerice, move to a farm outside Johannesburg hoping to salvage their strained marriage. However, the idyllic setting is shattered when a young man from Rhodesia (modern-day Zimbabwe)—the brother of their farmhand Petrus—dies on their property from illness and exposure. Six Feet of the Country Summary and Study Guide
The narrator is not a racist monster like the Afrikaner officials he despises. He considers himself enlightened. He pays his workers, he does not beat them, and he occasionally defends them in barroom conversations. Yet, when a life-or-death request is made, his first reaction is irritation and dismissal. Gordimer’s devastating insight is that liberal goodwill is useless when it refuses to engage with the actual humanity of the oppressed. The narrator’s “help” is condescending, belated, and ultimately futile. He is part of the system, not its antidote.