From Boomers to Bloomers

Gabriel Garcia Márquez said: “It is not true that people stop pursuing dreams because they grow old, they grow old because they stop pursuing dreams.”

That’s the sentiment at the heart of the delightfully titled Bloomer, the debut novel by septuagenarian Anne Schlebusch. Published in February, the book is already in its second print run. The Cape Town-based writer has written education material, three young adult novels and a short story that was long listed in the 2020 Kwela Corona Competition.

Bloomer is the story of a group of friends led by the rambunctious Maggie — they call themselves Invictus — who live in Hazyview Mansions, a home for the aged in Cape Town. It’s lockdown, and they are confined to their rooms. But as the rules ease, they demand to be let out, eventually taking their cause all the way to CNN.

It’s enormous fun, but it’s also a profound comment on how society treats old people — often belittling, patronising and infantilising them. Monique Verduyn spoke to her about the book.

What prompted you to write Bloomer?

It was a combination of factors: Covid had put an end to my plans for research in schools for a doctorate; lockdown caused us all to recalibrate what we cared about and wanted to do. The world didn’t know really what to do with vulnerable old people, especially after huge numbers were dying in old-age homes and in northern Italy in the early days, and society resorted to basically locking them away, favouring physical safety over emotional health.

The global focus on the aged plus the fact that I was a pensioner drew me to the story. I started in April 2020, and we were ready to publish by mid-June 2022.

Is the novel (or Maggie) in any way autobiographical?

Luckily for all around me, the answer is “no”. Small things are described from personal experience, like a trip to Taiwan which showed me how amazingly active the elderly are; I was myself a teacher; I am a mother and grandmother. I did have a beloved border collie. I walked a lot during Covid. But these things are part of any writer’s universe. Nothing is autobiographical.

Were any of the characters inspired by a real person?

They weren’t! My elderly dad shared a house with me for many years so maybe the notion of an old chap drifting in and out kindly was influenced by that.

How would you describe Maggie and her friends?

They are the gang I’d love to have in real life. Independent thinkers, they have one another’s backs, funny, varied. They have good chemistry and reach. With my government background and writing reports, I found myself putting in unnecessary chunks about how they got a mandate from the other residents, but then that was rather dull, so I took it out. I guess this lot had enough humility and sensitivity mixed with verve and participatory energy for others to have confidence in them.

Humour plays a big role in the story — humour writing is not easy; how did you get it right?

Ooh, thanks for saying I got it right. I absolutely had a ball writing it all, especially the “big” scenes (being mysterious here on purpose). I guess my natural approach is rather humorous and now I had free rein since this was literally my own space to occupy at will — so I jumped in and had fun.

There are lots of second chances in the book to achieve dreams and right wrongs. Is this a theme that’s important to you?

This is fundamental to me. That we shouldn’t sign out of life prematurely. And that letting feelings of guilt or unfinished business fester is unnecessary when we can still provide opportunity to talk things through or resolve things. I don’t mean like in an endless movie where you pester everyone with your unresolved guilt, but by all means deal with the big stuff. It’s very important for me to have the message that all of this is still a journey. There aren’t big movie-finale moments: you carry on. But live life to its fullest — you shouldn’t need to be in mourning.

The characters have their own ideas about what they want and how they demand their own agency. You’ve taken a positive, and often wry, look at old age. Was it important for you to present ageing differently from the norm?

Thanks — yes! I knew people might say hold on these folk are too lively to be so old. But I am surrounded by such lively people: I’m confident that they exist. I admire and love their joie de vivre. Let’s identify it and celebrate it.

What do you see as the turning point of the story?

Great question. There are a few. I guess we can have more than one epiphany. When Maggie and Cath talk about their past is important for me. Maggie’s moment when she learns of her Instagram fame and must use her voice for good. And that takes her right out of the micro into the macro. Maybe it’s her moment on the little hill where she affirms her right to live in “the now”. Isn’t it maybe when they decide to be Bloomers instead of Boomers only?

Your novel is a celebration of old age. Do you have any favourite novels that feature brilliant older characters?

I loved The Weekend by Charlotte Wood, an Australian writer, and anonymous author Hendrik Groen’s books have a lovely light touch.

What are you hoping your readers take away from this story?

It’s about relationships, finding and using your voice, blooming away splendidly and not opting to wilt. Blooming is such a gorgeous concept to me. You don’t have to bloom loudly either.

What was it like to make the transition from YA to adult fiction?

They are very different: length, language, stylistic devices, metaphor. I loved it.

What did you learn when writing the book?

I am still in a daze at its loving reception. That my own wanderings have found traction with others is brilliant. I’m grateful and energised. Maybe I can call myself a writer now.