Despite Reverend Stephen Kumalo hailing from the rural village of Ndotsheni, Alan Paton uses the city of Johannesburg as his main motif, alongside the concept of the tribe. Johannesburg represents a long history of Dutch and English colonization, and with it, a trend of white supremacy that marks South Africa well into the present. The city draws young people away from Ndotsheni because it promises a better life—specifically, modern (capitalist) desires. However, “when people go to Johannesburg, they do not come back” (38)—these people including Kumalo’s brother John and sister Gertrude. This is due to the ravenous nature of the city, its tendency to exploit Black labor; while John runs his own business, Gertrude is forced to partake in sex work and the sale of alcohol to support her and her son. When Kumalo arrives in Johannesburg and observes it for himself, he realizes its promise of success does not extend to Black South African people. Rather, its wealth comes at the expense of Black lives and spirits: Black people can work but will never truly belong and be rewarded the same benefits as white people. In this regard, the place exemplifies the government’s oncoming apartheid. Amid large houses owned by white families, many descended from colonizers, the government segregates Black South African people to areas like the destitute Shanty Town.