NJABULO NDEBELE The Cry of Winnie Mandela

January 20, 2015, 5:05 am

Review by Ishmael Mzwandile Soqaga

Here is a phenomenal novel that presents an interesting tale of certain women who honestly waited and longed for the return of their husbands after a long departure. Overall, the novel comprises of part one and part two respectively. Njabulo Ndebele has creatively succeeded to establish such astronomical and glamorous novel that authentically whets the appetite. Apparently, the novel is one of the ilks of fine literary works that fascinate dramatically. Created by an African writer, academic, Professor and essentially it will remain one of the most resounding novels to be produced by an African.

Part one of the novel unfolds with the descendant of Penelope, the wife of Odysseus who had waited for nineteen years for the return of her husband. “While waiting, Penelope had to bear the agony of persistent advances by countless suitors among the nobility of Ithaca. They all wanted her hand in marriage. In an unspeakable insult to her privacy, some of these men, in an effort to wear her down, shamelessly camped at her house.”

How terrible!

This invasion was of course equally an insult to the honour of her absent husband.

But where was he?

“He will never come back!” the persistent suitors pressed their demands. “Surely, he is dead” they said to this waiting wife, poking at her vulnerabilities, tossing her this way and that, in an open field of uncertainty and anxiety, testing the limits of her love, loyalty, and faith.

It didn’t work

Penelope spurned them all...

In fact the author relates his novel to Penelope with other women who have similar experiences of longing and waiting for the return of their husbands after a long absence. He precisely refers to these women as the descendant of Penelope, from the first descendant to the fourth one. However, in wealth of detail we see in part two of the novel the essentials mentioning the participation of Winnie Mandela.

Part One

The First Descendant

Harsh realities of poverty in Lesotho make Lejone Mofolo to leave his country to search for a living to bolster his family. Leaving behind his wife and children was not an easy thing. Of course, it was a very difficult decision to make however; circumstances compelled him to do so. Drought, unprecedented poverty, unproductive land to yield maize, lack of rain etc pose a daunting situation for their survival. Felicitous, Lejone Mofolo manages to get the job in the mines as was a common thing at that time. At first he repudiates to allow city life to allure him to forget his wife. He will diligently send money and pay regular visits to his wife and he obviously desired to have his wife s photo as other co-workers in the hostel have them. But things begin to change when he adapted to city life, changing language and use township accent. He forgets to pay those regular visits to Lesotho, settles in Benoni, eThwatwa with another woman and starts another family. At home in Lesotho his real wife begins to be overwhelmed with consternation and many tentative questions lead her to break the law of Penelope of waiting for Odysseus. She goes to the city to search for her husband but her efforts are a complete miscarriage – she cannot find her husband.

The Second Descendant

A young man at the age of thirty –five got scholarship to study in overseas. He was a married man with two children and he wished that his young beautiful wife could join him in overseas. Probably it was impossible. His wife was very skilled and she always supported her husband while in the meantime she is still waiting for her husband. After many years - six years waiting the East Rand township produced its first black medical doctor. It was not her husband. However she persists to wait for her husband. But surprisingly as she was waiting for her husband, in the tenth year of her husband’s medical studies, she discovers she is pregnant. In the twelfth year her husband finally completes his studies and returns home in the fourteenth year to find a four year old child. Six months after his return, he divorces her. She has been honestly supportive, and waited for her husband but her husband accused her of infidelity and abandoned her.

Third Descendant

Another reeling waiting begins when the couples were teens. Mamello had to wait for her husband since their teen years. Growing together, playing together and essentially attending the school together until they graduated and get married. However, something whimsical happened when Mamello had to wait for her husband to return home. She waited and waited and never realized about the departure of her husband, but later on she discovers that her husband went to exile for political purpose. She continued to be patient and committed herself to take responsibility to look after her husband s aged parents. Eventually, after ten years of waiting, his husband was jailed for fifteen years in Robben Island. Subsequently her husband was released but he never returned home and she had to wait but only to discover later that her husband has married a white woman and ultimately Mamello was divorced. .

Fourth Descendant

Her concern was her Odysseus to be loyal and remain at home; however in contrast her husband was not at home as a married man. But he openly “sleeps around”. In the meanwhile as she waits, her husband finally died and she buried him with a casket giving him a decent funeral.

Part Two

Ibandla Labafazi

The part two of the novel narrates how the four descendants met and gathered together to share their experiences about their predicament. The women chit-chatted very emotionally and Mamello came with the proposal to talk about Winnie Madikizela Nomzamo Mandela. She argued that it will be apposite to talk about her as she waited too. The women declared Winnie Nomzamo Zanyiwe Mandela as a member of ibandla labafazi abalindile. Eventually all these woman confabulated and expressed anything pertinent to their situation as ‘women waited’ with Winnie and at the very same time Winnie responded positively to their interlocution. In conclusion of the novel we see the women with Winnie Mandela heading east for Durban and on the road they meet with a stranger. “Women, are you Penelope?” Winnie asks in absolute astonishment.

“None other, my dear,” says the stranger. “For more than two thousand years I have been on a pilgrimage of reconciliation. On the morning after our first night together in nineteen years of absence, Odysseus decided to leave me again to perform cleansing rituals to forestall possible evil strife following his brutal slaying of my shameless suitors.

“Well, he left, but it has never been told that when he returned, I was gone. I went on my own cleansing pilgrimage. Odysseus should not have left like that on that special morning when I was still learning to savour his return. He should have shown more sensitivity…

Apparently, this is one of the transcendent novels that when one concludes to read one will be overwhelmed with lot of euphoria considering the prodigious flair of the author. Utterly mesmerizing! Moreover, this is a novel that must be relished with great delectation. Its construction, the style and contents are explicitly remarkable. Njabulo Ndebele is one of the few African intellectuals who continue to write stunning books with profound enthusiasm. His exhilarating books conspicuously evince the fact that he is one of the top classic African writers.

The Cry of Winnie Mandela although it is a novel, but it wittingly gives an emotional picture of women who affectionately waited for the return of their husbands. Albeit it furnishes the most important details about South Africa, city life and rural life like in the case of Lejone Mofole and Mannete his wife, Delisiwe Dulcie S’ khosana, Winnie Mandela etc . The novel reveals how likely womens marriages are affected in particular when the man is absent for very long time. Indeed it is a wonderful novel to relish and inevitably Njabulo Ndebele remains stupendous and credible as the one of the extraordinary writers in Africa. Using European literature, impressive allusions, biographies and other sources to concoct a novel in African context patently demonstrates the ability of the author as an illustrious and veritable writer with palatable literary prowess.

Works by Njabulo Ndebele

Fine Lines from the Box: Further Thoughts About Our Country, 2007

Rediscovery of the Ordinary: Essays on South African Literature and Culture, 1991, Reissued 2006

Fools and Other Stories, 1983, reissued 2006

The Cry of Winnie Mandela, 2004

Umpropheti/The Prophetess, 1999

Death of a Son, 1996

Bonolo and the Peach Tree, 1994

Sarah, Rings, and I, 1993

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DON MATTERA HONOURED

January 27, 2015, 1:34 am

≫ Next: ADIEU, CHARLES MATORERA!

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Veteran black journalist and poet extraordinaire Don Mattera was honoured in Johannesburg, South Africa at the SABMiller World of Beer on Saturday [24 January 2015]. The Media Fraternity Network hosted the lunch to honour Don Mattera that was sponsored by the SABMiller World of Beer.

The Media Fraternity Network is a loose structure supported by veteran journalists. Mpikeleni Duma, Len Maseko, Oupa Ngwenya and Ngila Muendane are part of this loose structure that is patronized by the
veterans.

Mr Monwabi Fandeso, Director at the SABMiller welcomed the guests and aid it was a great honour to open the function of Don Mattera. He added that it was so good for the SABMiller to be part of such an event.

Veteran journalist Sello Sekola, and former City Press Political editor said he told Mpikeleni Duma, journalist and coordinator of the event that there were four veteran journalists who could talk competently about Don Mattera.

Sekola mentioned them at the gathering: Joe Thloloe, Juby Mayet, Mike Mzileni and ZB Molefe. Sekola welcomed everybody at the function presided over by Sowetan newspaper deputy news editor Victor
Mecoamere.

Mayet paid tribute to Don Matterra and read one of the poems of dissident poet of Cape Town James Matthews. Mayet said she knew Mattera for many years. Also, Mayet worked at renownedDrum Magazine and various newspapers before she retired.

Mike Mzileni, veteran photographer and former City Press pictures editor told the audience that he and Don Mattera have seen the apartheid era and the democracy. He said that it was up to the young
generation to take it over. He lamented the plummeting standard of journalism in the country.

Joe Thloloe, former Sowetan managing editor, SABC TV news head and ETV and trade union activist said when he read Don Mattera's books it reminds him of Marikana, the shooting of the mine workers, and attacks of foreigners shops in Soweto.

"Your book, Don Mattera,' says Thloloe, " Memory Is the Weapon it reminds us of many thing that are happening in the country and nobody seems to notice them in totality."

Mathatha Tsedu, another veteran journalist told the gathering that he was from the farms of the Limpopo Province. "I used to read about Don Mattera's poems as a young man. In each and every protest rally Don Mattera would be featured and recite a political poem. I later met Don Mattera at rallies of the Azanian People Organization reciting poems against the apartheid government. Indeed it is a great honour to speak today here."

Thami Mazwai a colleague of Don Mattera and veteran journalist said people like the poet must be honoured. Mazwai said Mattera has sacrificed his life for the liberation of the country.

Don Mattera was born in Western Native Township [now Westbury], Johannesburg. He worked as a journalist on the Sunday Times, The Sowetan and Weekly Mail [Mail and Guardian]. He also wrote several books.

He was banned from 1973 to 1982. At the Sowetan newspaper he trained journalists on site about journalism in terms of writing, ethics, book reviews, feature writing and doing opinion pieces.

Themba Sepotokelo, a former student of Don Mattera at the Sowetan newspaper said he has gained a lot from the teachings of Don Mattera." I learnt a lot from him. He taught us many things at the Sowetan
newspaper. Black senior journalist need to write their own books," says Sepotokelo.

Sepotokelo urged the audience to donate for Don Mattera. Mattera refused the offer saying that the audience could rather buy his books. Mattera said he was worried of a number of poor people in South
Africa who are still in limbo.

Saths Cooper a renowned academic and political leader reader texted messages from his cellphone of his conversation with Don Mattera. He praised Don Mattera for his Ubuntu and courage. He said Don Mattera has shown courage in difficult circumstances.

Langa, the son of the late Sowetan newspaper editor Aggrey Klaaste said he was at the function to ask questions from the elder people. He announced that he was working on a documentary about his father.

Poet Maishe Maponya kept the audience in their stitches as he rendered his poem "Ant No Party". Miashe's poem highlighted the state ofunedifying corruption in South Africa.

Ngila Muendane, one of the members of this loose structure criticized the Department of Military Veterans for failing to build a house for Don Mattera. Muendane said Mattera was living in difficult conditions.

In his replying remarks Don Mattera said: "I am happy that I am honoured today. It took a long time for this to happen. I am now 80 years old. I have sons and daughters, grandchildren to look after."

Snowy, Mattera's daughter cried as she recalled how her father brought them up. She said her father was a man of the people.

Socialite Nomsa Manaka was part of the audience including many veteran journalists.It was a remarkable day of kudos for Mattera, one of South Africa and Africa s outstanding bards.

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ADIEU, CHARLES MATORERA!

January 28, 2015, 2:05 am

≫ Next: REMEMBERING AND CELEBRATING MBULELO MZAMANE

≪ Previous: DON MATTERA HONOURED

Encomiums keep on pouring in across the board for talented Zimbabwean writer, Charles Matorera, who died this week.

Matorera, a promisingwriter with many strings to his bow was essentially a writer of short stories (fiction) and an essayist and journalist to boot.

Many pundits believe that if Matorera had not given up the ghost prematurely he would have gone on to become a key novelist of repute. But during his lifetime he was also a publisher; the international publication, The Diaspora, was his brainchild. The paper was distributed far and wide within many countries in Africa.

Indeed, Mr Matorera "displayed a deft and adroit hand whilst churning out his fiction of the shorter variety".

His short stories included, Singwizi, and Tribalism curse of Africa".

Tributes to Matorera keep on pouring in. South African poet and essayist, T Matthew Thiba said this week: “Regarding the unsettled situation in his home country Charles decided to leave his country Zimbabwe come to South Africa and he stayed in Johannesburg then later stayed in Bloemfontein. In the city of roses he got introduced to many writers by his writing and his own creative work got known to the public. He wrote plenty of short stories that promote arts and culture in spectrum of literature. His grandfather the WW2 hero was the one who instilled the culture of writing and reading into his heart. Charles recalls clearly that he went as far as to read anything and even trashed paper! Matorera was a creative writer, essayist and critic.

“As a writer Charles had his favourite writers; namely NguyiwaThiongo, MtutuzeliMatshoba, Chinua Achebe to name a few. Charles’ dream regarding literature was to see or transform African stories into motion pictures. As it has always been true, the good die young. Plenty of fine artists and writers across the world have died young and though expectations were rocking the sky-high from their blazing talent. Charles will be remembered for his good work and it will go down with history to the future generations. Adieu!” a disconsolate Thiba rounded off.

Also the Deputy Director at the Sesotho Literary Museum (SLM), Tseliso Masolane said: “I have heard of Mr Matorera’s death with a great shock as he was still young and talented. Not long time again Sesotho Literary Fraternity and the world of academia lost one of the literary Giants, Professor Benito Khotseng. We are still trying to heal those wounds and all of a sudden we are losing a talented writer again!”

“Charles, will surely be remembered for his scintillating short stories, many published on the internet and in a litany of books around the world; e.g Free State Brewed Short stories. We will miss him,” said a sombre Masolane.

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REMEMBERING AND CELEBRATING MBULELO MZAMANE

February 2, 2015, 2:37 am

≫ Next: ASSIA DJEBAR DIES

≪ Previous: ADIEU, CHARLES MATORERA!

By O Bolaji

It was around this time a year ago that Mbulelo Mzamane, outstanding
academic, writer, intellectual et al, breathed his last. But his legacy ineluctably and necessarily lives on.

On my own part, when I think about him my mind goes to his sparkling, generous, amiable personality, the genuine camaraderie; laughs, smiles, the complement of authentic ebullience that always surrounded him. And of course the humour.

Read his works, especially the fiction and savour the thread of effulgent humour that runs through them. This is no way attenuates the sterling quality of his assorted writing; he was a man who despite being a world class academic and intellectual nevertheless had his feet firmly on the ground.

Mzamane was recognised for his brilliance in his sphere, and spent a large part of his life travelling the world and lecturing from one country to another. Yet he possessed large dollops of ubuntu which made him appear larger than life.

Although I met the man only intermittently (once in a blue moon would be more appropriate), I can not forget his generous eclectic spirit. It was almost 20 years ago when I met him in person for the first time; I was new in South Africa, and chanced to be at Fort Hare University in Alice (Eastern Cape). In those days I used to often carry around a file that contained about 100 short stories I had published during an early spell of my "writing career".

An academic at the University of Fort Hare one day briefly took me to
Mzamane's office and introduced me to him. The great man went through
my file, chuckling intermittently. "You wrote all these stories, young man? ... Yes, I can see your name on each of them..."

Presently he said: "You have done very well. I can't appraise them critically of course, as I just glanced through them. You like interesting, shall we
say, unusual titles eh?" He laughed uproariously...

I must confess that at the time I did not fully realise how much of a literary icon professor Mzamane was - he was to add even more cubits to his awesome reputation over the years - but my initial positive impression of the man was cemented later on whenever one met him at literary events, occasions, awards, festivals and the like.

Aside from his own published works, Mzamane's generosity of spirit is shown by the way and manner he skillfully edited a large number of other manuscripts and books - for other important writers - over the years. Those interested in this aspect of his life (and work) are urged to do more research in this wise!

The late great man also respected women a great deal, and it is on record that he often paid tribute to his "wonderful wife", and added that he would want to write things like poems and essays in her honour.

I remember him once saying that "the women in my life are in no way inferior; in fact they are the opposite - my wife, my daughters, they challenge me intellectually every time. Africa does not know what it is losing whenever our women are suppressed..." A remarkable man indeed, Mbulelo Mzamane. Continue to rest in peace....

Published works of Mbulelo Mzamane

Mzala: The Short Stories of Mbulelo Mzamane (Johannesburg: Ravan Press, 1980).

My Cousin Comes to Jo'burg (Harlow: Longman, 1981).

The Children of Soweto : A Trilogy (Harlow: Longman, 1982).

The Children of the Diaspora and Other Stories of Exile (Western Cape: Vivlia Publishers, 1996).

Where there is no vision the people perish: Reflections on the African Renaissance (University of South Australia: Hawke Institute, 2001).

The Race Between the Turtles and Cheetahs (Children's Book) (Canberra, The Australian National University: The Herbert and Valmae Freilich Foundation, 2004).

Children of Paradise (UKZN Press, 2011).

Of Minks and Men and Other Stories of Our Transition and The Mbeki Turn: South Africa after Mandela (Lambert Academic Publishing, 2013).

↧

ASSIA DJEBAR DIES

February 9, 2015, 2:55 am

≫ Next: THE TRANSFORMERS By Adeniyi Adedayo

≪ Previous: REMEMBERING AND CELEBRATING MBULELO MZAMANE

Think about outstanding female writers from north Africa over the years. Chances are at least two female protagonists would spring to mind: the late Alifa Rifaat (from Egypt); and Assia Djebar (from Algeria), who has just died.

Assia Djebar was recognised for decades as a western-educated Algerian feminist, intellectual and spokesperson for Algerian women. Her body of powerful writing andpublications reflect this.

Djebar as a top-notch intellectual ultimately won the Neustadt International Prize for Literature; and also the Yourcenar Prize. Yet she published her significant earlyworks at a very young age, in her very early 20's - works like La Soif (1957) and Les Impatients (1958). Other works include Les Enfants du Nouveau Monde (1962) and Vaste a la Prison (1995). Djebar's works were translated into many international languages.

She was born in Cherchell, near Algiers, in 1936. Her writings were to stamp her out
as essentially a defender of women's rights in her native Algeria. She achieved international renown as an academic, also going on to lecture at New York University.

Literary pundits, upon hearing of her death, have been expressing admiration and appreciation of her life and work - including the upliftment of women in North Africa ingeneral. Leke Giwa for example states: "Assia Djebar was a brilliant writer, judging from English translations of her work. It has been quite numbing for African and international literature that she and world-class (South African writer and academic) Andre Brinkdied around the same time at the weekend".

Jane Hiddleston, writingabout Assia Djebar, has said: “(Djebar) is "frequently associated with women's writing movements, her novels are clearly focused on the creation of a genealogy of Algerian women, and her political stance is virulently anti-patriarchal as much as it is anti-colonial,”

Suggested Reading

Islamic Culture and the question of women's human rights in North Africa: a study of short stories by Assia Djebar and Alifa Rifaat. By Naomi E. Nkealah

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THE TRANSFORMERS By Adeniyi Adedayo

February 16, 2015, 2:56 am

≫ Next: "EROTIC WRITER" MBELLA SONNE DIPOKO

≪ Previous: ASSIA DJEBAR DIES

"The Transformers turns your eyes to the past, plants your feet in the present and asks you to join hands with others to help transform Nigeria. Nigeria is taken apart and virtually put together again. Its practicality evinces that you can make a difference, by giving veritable examples of those who have done the same. It reminds us that the transformation starts from us. A must-read..." Yakubu Damilola (Idiace) - Poet.

"As a social actor and advocate for change in Nigeria, I often feared "We may be lost in the fight...we will never get back!" Dayo has replied through this book: "We don't have to come back, but we must go out! We must give our all until we Win".

"The Transformers is not a book to merely influence your love for Nigeria or to increase your knowledge about great achievers (although it does that). This is a tool that will practically transform your life. It is meant for those few who have decided not only to make a difference but also break decisively and angrily with a strong purpose to deliver Nigeria's future. I strongly recommend (the book) ..."– Kehinde Fawumi (Fujitsu, Germany)

About The Author (pix above)

Adeniyi Adedayo (Dayo Nigeria) is a graduate of Obafemi Awolowo University, Ile- Ife, and has a passion to raise men who will build a new society. Innovative, resourceful and skilled in creating result producing strategies. Confident and a good communicator adept at interacting and working with young people with the ability to motivate them to attain their potentials despite their diverse interests. He is also an Ambassador of GEMSTONE Nation Builders Network.

↧

"EROTIC WRITER" MBELLA SONNE DIPOKO

February 23, 2015, 2:28 am

≫ Next: THE ENEMY CALLED DEATH - By Mary B. Peter

≪ Previous: THE TRANSFORMERS By Adeniyi Adedayo

Cameroonian writer Mbella Sonne Dipoko (1936 - 2009) was mainly depicted as an erotic writer of sorts; whereas the simple truth is that he was a very good novelist and poet.

His novels in particular disturbed a number of critics, reviewers and readers because of the rather explicit sexual content therein. That was way back in the 60s when some felt that a "serious, committed African writer" should not dwell too much on such things.

As Paul Theroux suggested then decades ago, African writers were supposed to write "about solid tribal wisdom, ghoulish rituals and the inscrutable cruelty of colonialism - not to mention the inclusion of semi-profound proverbs and the utterances of very old men with dry skin and wizened faces."

Yet, even way back in the 60s (and early seventies) other distinguished African writers wrote about sex in some detail in their works; for example Ayi Kwei Armah (especially in Fragments), Chinua Achebe (A man of the People), and even Soyinka. Naiwu Osahon (in Sex is a Nigger) was more or less in a special class of his own.

A lot of hypocrisy has always surrounded sex, in general. Nowadays many aficionados of literature would worry about some "explicit sex" in published works; though of course even an acclaimed novelist like Chimamanda Ngozi Adichie has been panned by some critics for "excessive sex" in her works.

But back to the 60s when Mbella Sonne Dipoko was at his peak as a writer. Unashamedly he admitted that he personally loved sex, and enjoyed writing about it in his well-written books. In a rather famous interview (with Cameroon Life magazine) Dipoko said:

“I became, for many years what you might call a travelling lover, a dreamer searching for God between the women’s thighs – those days, when I was at the height of my intimate powers.

“You had to see me! I was like an angel stuffing recoilless erections into just where they are most needed – into the fleshy folds of winter! But I did it with rosy summers too, and each divine thrust was like stuffing your women with yet another trump card of desire! And, there was no Aids stalking through the world just to scare sensible chaps off sex…”

Major works by Mbella Sonne Dipoko

A few nights and days (1966)

Because of Women (1969)

Black and White in love (1972)

- By Theophile Ebounge

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THE ENEMY CALLED DEATH - By Mary B. Peter

March 2, 2015, 3:39 am

≫ Next: 6TH ANNUAL NORTHERN CAPE WRITERS FESTIVAL (2015)

≪ Previous: "EROTIC WRITER" MBELLA SONNE DIPOKO

THE ENEMY CALLED DEATH

A poem by Mary Bisola Peter

I've run from the deep shadow of death
I've run from its urgency to take me beyond
Its thick and wavy breeze keeps finding me
The rain, with its powerful thunder
Does not favour me
It nearly ripped my heart out

I've run from the deep shadow of death
I've run from its need to take me home
On the road I tread
I can't help but, be watchful
If death is on my trail
For the thought of death is unpleasant

I've run from the deep shadow of death
I've run from what must come
When the wind blows
When the thunder strikes
A little shake of the earth
I can't help but fear

I've run from the deep shadow of death
I've run from the mighty one
Whose arrival is unannounced
How shall I battle thee
Thou foe of man?
Messenger from beyond

I've run from the deep shadow of death
I've run from its echoes of mockery laughter
Wherever I go
Its eyes pursue me, stabbing into my back
I feel its unending appetite
For the soul of men

I've run from the deep shadow of death
I've run from its bulging and greedy eyes
Eyes which reddened
Reddened at the mere sound of a plea
Red bulging eyes, full of rage
Rage to devour the soul of man

I've run from the deep shadow of death
I've run from its unfailing grip
Death! Whose mission is destiny
Death! Oh death!
Death! The unexpected guest

I've run from the deep shadow of death
I've run from its ungracious wrath
Its claws can not catch me
Its gaze I have run from
Until the due time
The Maker's own time....

↧

6TH ANNUAL NORTHERN CAPE WRITERS FESTIVAL (2015)

March 3, 2015, 2:09 am

≫ Next: THE LITERARY WORK OF OKOT P BITEK

≪ Previous: THE ENEMY CALLED DEATH - By Mary B. Peter

By Tiisetso M Thiba

Once again this year 2015 Northern Cape under the Department of Sports, Arts and Culture hosted the 6th annual Northern Cape writer’s festival start from 26 to 28 February 2015 with the Theme of ‘The doors of learning and culture shall be opened’.

The three day event was held in front of Kimberley Library. Since the origin of the Writers Festival, the festival has been growing strength to strength each and every year said MEC of Sports, Arts and Culture Lebogang Motlhaping in an interview.

This annual event engrossed national and international writers, poets and authors to share their experience and skills with the aspiring writers in the province and far beyond.

Writers, poets and authors attracted by festival this year included the renowned Dr Don Materra, Diana Ferrus, Prof Pitika Ntuli, Sabata Mpho Mokae, Prof Lesego Malepe, James Matthews, Ipeleng Tlhankana, Iyaba Ibo Mandingo from New York.

Others included Jowhari Trahan from California, Tina Schouw and Gontsewa Chaane. From the Free State came the likes of Hector Kunene, Nthabiseng “Jah Rose” Jafta, and Charmaine Kolwane

Aficionados of Literature from different provinces in South Africa visited Kimberley to form part of the unique festival, and some of them believe that the event will be much bigger next year and attract plenty of writers and public to celebrate the event together.

The stage was open for all writers to read from their books and poets to bless the word-lovers with the unspoken words.

“When a reader enters the pages of a book of poetry he or she enters a world when dreams transform the past into knowledge made applicable to the present, and when visions shape the present into extraordinary possibilities for the future,” A memorable quote courtesy of Aberjhani.

Round table discussions were held and directed by Dr Don Mattera and the discussion topics included creative writing process and writing in the indigenous languages to restore our mother tongues for the present and future generations. Pupils from local schools benefited from the festival by forming part of skills development programme through creative writing workshops held by writers.

Writer, author Mark Kotze was the master of the ceremony of the writers festival and he was one of the five authors who launched their books during the festival. This added to the razzmatazz and excitement.

The event ended on high note when Iyaba Ibo Mandingo read from his book ‘Sins of my father’ and veteran poets such as James Matthews, Prof Pitika Ntuli, Dr Don Materra, Diana Ferrus and Tina Schouw rendered their splendid poems and left the audiences demanding for more!

↧

THE LITERARY WORK OF OKOT P BITEK

March 4, 2015, 1:00 am

≫ Next: In Search of a Plethora of Critics...

≪ Previous: 6TH ANNUAL NORTHERN CAPE WRITERS FESTIVAL (2015)

By Ishmael Mzwandile Soqaga

Perforce Western domination in Africa through the long obliterated colonialism scandalously played a scurrilous role to ultimately liquidate African communities and its culture. However, tentative questions have been raised as to why colonialism should be involved while Africa is absolutely free from foreign puissance. In fact to some pundits and scholars this cannot be cryptic or peculiar, but to the younger generation definitely it can be flummoxing. Young people don’t see any obvious repression by extrinsic forces and they are tractable by the comfort and privileges of today.

Nevertheless, it is worth noting to appreciate that African literature has punchy and sufficient answers to the questions that are pertinent to Africa, including colonialism. To start with, early modern African writers like Chinua Achebe, Wole Soyinka, Leopold Senghor, Es’kia Mphahlele, Bessie Head, Richard Rive, Okot p’ Bitek, Peter Abrahams etc had churned out breathtaking literary materials that proliferate astronomically. Essentially the literature they produced is still remarkable and relished by number of people unanimously.

Specifically Okot p’ Bitek a Ugandan essayist, poet, novelist, translator and editor had played an enormous role in ventilating his repine about colonial encroachment of Africa. It is indispensable to point out that p’ Bitek was not a racist, tribal bigot, or a dramatic stereotype African writer. Inadvertently he did not promote bunkum racist vitriolic against the West but he rather proscribed the pathological demeanour of the West which caused mayhem in African communities.

Because he benefited from the privileges that the West brought in Africa, in particular education and he was also a national soccer player of Uganda. In the summer of 1956 he participated in the Olympic Games in London and remained in England to study at several institutions, including the Institute of Social Anthropology in Oxford and University College, Wales. He was first recognized as a major new voice in African literature in 1966 when he published Song of Lawino. Essentially,named director of the Uganda National Theater and Cultural Center, political pressure, however, forced p’Bitek from his directorship after two years. He moved to Kenya, where, with the exception of frequent visit to universities in the United States, he remained throughout the reign of Ugandan dictator Idi Amin. After founding the Kisumu Arts Festival in Kenya and later serving as a professor in Nigeria, p’ Bitek eventually returned to Makerere University in Kampala, Uganda, where he was a professor of creative writing until his death in 1982.

Okot p’ Bitek had produced a corpus of exhilarating literature. He was a smashing inspiration in Africa. What made him so sensational and sagacious in African literary context? Firstly, after his educational accomplishments, he remained firmly strong about Africa’s pride and identity; secondly he was a pragmatic cultural activist who unashamedly propagated African consciousness through art and culture. This is completely displayed by his explicit verve to establish the highly successful Gulu Arts Festival, which celebrates the traditional oral history, dance and other arts of the Acholi people.

To accentuate further, p’ Bitek had certainly enraptured the world by his Afro-centric style of writing. One of his famous works, Song of Lawino is a plea for the preservation of Acholic cultural tradition from the encroachment of Western influence. The prose poem is narrated by Lawino, an illiterate Ugandan housewife, who complains bitterly that her university – educated husband, Ocol, has rejected her and his own Acholic heritage in favour of a modern lifestyle. Perceiving his wife as an undesirable impediment to his progress, Ocol devotes his attention to Clementine (Tina), his Westernized mistress. Throughout the work, Lawino condemns her husband’s disdain of African ways, describing her native civilization as beautiful, meaningful, and deeply satisfying: “Listen Ocol, my old friend, /The ways of your ancestors / Are good. / Their customs are solid / And not hollow…” She laments her husband’s disrespect for his own culture and question the logic of many Western.

Of course, as a young African myself I am completely fascinated and impressed by the unequivocal writing of the versatile and salubrious p’ Bitek. His total commitment and genre of literature he produced make one to realize how exquisite Africa is. Unlike today where you see young generation blending literature with some strange foreign element, one will be in consternation when he reminisces about the heyday of African literature when the world used to evince winsome interest on it. Apparently, it is really ambiguous to see only few African writers doing exceptionally well in this wise.

Frivolity and other bizarre trends employed by so called emerging young African writers threaten the solid existence of African literature. By trying to make African literature some kind of fashion music is actually egregious for quintessential literature. It can be better if young people concentrate on genuine and outstanding literature instead of making absurd gaffe. How will the world continue to respect and regard African literature when writers depreciate quintessential literature? What is more interesting is that early African writers often began their quest for literature at their young age. Okot p’ Bitek is an example. At the age of twenty-two he published his first literary work, a novel in Acholic entitled Lak tar miyo kinyero wi lobo? (1953; White Teeth).

For African literature to continue to be appealing and spread profusely it will be much better for writers to draw awesome inspiration from a writer of the calibre of p’ Bitek. He has been prodigious in expressing what is congruous to Africa. In particular he strongly emphasized rudimentary education through African folktales which apparently is something ignored by Africans themselves. As a result of urban life African values and culture are shockingly dwindling and eventually another new lifestyle is developing. This has been a major subject to p’ Bitek work, that Africans must invariably retain their cultural values. In the preface to his essay collection Africa’s Cultural Revolution (1973), p’ Bitek explained: “Africa must re-examine herself critical. She must discover her true self, and rid herself of all apemanship.”

P’ Bitek s work must be a continuous subject among the Africans, because it contained unambiguous reality about the survival of African identity. A conscious African will be wary of the power of technology which predominantly influences large number of people. In fact people are more concerned about writing text messages on the technological device such as Smartphone’s etc and conspicuously neglect quintessential writing. Therefore, patently this can have negative consequence on upcoming generation of writers as they will not comprehend the importance of grammar and literature. Sincerely a honest plea is in order to the effect that African literature must always remain authentic, germane and appealing as to avoid its complete corrosion.

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In Search of a Plethora of Critics...

March 9, 2015, 3:07 am

≫ Next: OLA ROTIMI AND THE WORLD OF THEATRE

≪ Previous: THE LITERARY WORK OF OKOT P BITEK

By O Bolaji

Savour these comments on a trio of world class, renowned writers:

WILLIAM SHAKESPEARE

"That king Shakespeare - does not he shine, in crowned sovereignty, over us all as the noblest, gentlest yet strongest of rallying signs; indestructible..."

- Thomas Carlyle.

SAUL BELLOW

"Nature does not owe us perfection. Novelists don't, either...(Bellow is) an author who as Randall Jarrell once wrote of Walt Whitman, is a world, a waste with here and there, systems blazing at random out of the darkness - those systems as beautifully and astonishingly organised as the rings and satellites of Saturn..."

- Sam Tanenhaus.

T.S ELIOT

"(He) seemed pure zenith, a colossus, nothing less than a permanent luminary, fixed in the firmament like the sun and the moon..."

- Cynthia Ozick.

A fair amount of people might feel that there is a touch of hyperbole and the use of superlatives in these references or allusions to these writers. But this does not mean that critics are united in singing the praises of these writers. Over the years many other critics were not too enamoured with this trio.

Hundreds of critics would ineluctably have their say in respect of a surfeit of writers; but imagine a situation where writers or their books are largely ignored for one reason or the other. Pertinently and relatively, in Africa few of our creative works are comprehensively and rigorously analysed by critics and reviewers to the extent that we can endeavour to sift the wheat from the chaff as it were.

A great deal of books, including novels, has now been published in Africa mainly in the last 50 to 70 years. But it still took some time for critics around the world to start focusing on such works. Eustace Palmer, a formidable academic from Sierra Leone, was one of the first African critics in this wise. Recently he looked back on his first celebrated book, An Introduction to the African Novel (published in the 70s):

"When I started teaching at Fourah Bay College (in Sierra Leone) modern African literature was just coming to the fore, and we African literary academics were therefore expected to take an interest in it, and not merely leave it to British and American enthusiasts like Bernth Lindfors and Gerald Moore.

"So I developed an interest in African literature and decided to apply some of the skills I had acquired at Edinburgh University, with some modifications to its study. After teaching one or two texts I decided to write a book on the African novel, giving my frank views about a selection of African novels. I called it simply An Introduction to the African novel. It was published by Heinemann and soon became something of a classic...".

(Pix above: Eustace Palmer)

Nowadays the number of critics writing on African literature has multiplied, but so also has the number of books being published by African writers in our modern era. What usually happens is that critics would focus on a few celebrated works/authors, whilst many good writers and books are essentially ignored.

Positive reviews (and the opposite) are feasible only when diverse readers and critics join the fray or crucible - and focus on as many published works as possible. Books written in African indigenous languages are the ones that suffer most with a general paucity of literary-critical material in this sphere. What price a plethora of perspicacious critics as regards African writing?

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OLA ROTIMI AND THE WORLD OF THEATRE

March 17, 2015, 5:07 am

≫ Next: THE GATEPOST LAUNCHED

≪ Previous: In Search of a Plethora of Critics...

The Nigerian writer, Ola Rotimi achieved global renown thanks to his major contributions to the world of theatre over the years.

Rotimi wrote, produced and even starred in many fine dramas during his lifetime.

His acclaimed plays included The gods are not to blame, Our husband has gone mad again, and Kurunmi.

From the very beginning it was clear that Rotimi was a formidable talent, despite some early criticism from Dapo Adelugba who referred to the "chafing at the heels of Yoruba grand saws and expressions" by Rotimi; and "uneasy oscillations in his language and style" generally. Adelugba at this stage dubbed Rotimi's work as "interesting apprentice".

Kurunmi the play by Rotimi was appreciated by a great deal of readers and critics though, and had several productions around the world. I remember it was filmed for Nigerian television with Rotimi himself starring as Ogunmola the warrior:

"That's your own headache!".

The play, Ovonramwen Nogbaisi, also by Rotimi is a very powerful work with many praising the dignity of the king: "Let the land know this: Ovonramwen Nogbaisi is henceforth set to rule as king after the manner of his fathers before him...no matter how stout and long the human neck, on top of it must sit a head. Henceforth a full moon's my glow - dominant and un-open to rivalry throughout the empire".

On my own part, over the years - perhaps in my naivety - somehow I always juxtaposed Rotimi's Our husband has gone mad again, with Ama Ata Aidoo's The dilemma of a ghost - with the theme of wives "from outside" finding it difficult to fit in. The theatrical effects in both plays remain impressionable.

Rotimi had to go through the whole drama himself of being a Nigerian with its absurdities - eg when in real life he was brutally flogged by security officials as documented by Wole Soyinka... Rotimi recorded many of the absurdities and outrageousness of society in his plays.

On the whole, Ola Rotimi's life and work in the theatre shows that he belongs to the pantheon of the all-time great African playwrights - like Athol Fugard, Wole Soyinka, Efua T Sutherland, J.P Clark, and Zulu Sofola.

- Leke Giwa

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THE GATEPOST LAUNCHED

March 19, 2015, 4:35 am

≫ Next: William Plomer – much ahead of his time!!

≪ Previous: OLA ROTIMI AND THE WORLD OF THEATRE

The excitement and euphoria in the eastern Free State (South Africa) fizzes over with the launch of a newspaper covering the area, The Gatepost. In this maiden edition there is a superb interview with world class African writer, Zakes Mda

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William Plomer – much ahead of his time!!

September 30, 2014, 4:18 am

≫ Next: FOR MALOME AGAIN !

≪ Previous: THE GATEPOST LAUNCHED

By Ishmael Mzwandile Soqaga

When one begins to reminisce about the past racial situation that inhumanely defined members of the human race as unequal, it becomes difficult for the victims of racial trauma to forget. However, as usual the world can be fortunate enough to be blessed by some people who love peace and harmony. The world has changed now because of such people. Their profound efforts to speak about things that are daunting to the human existence are very sublime. Imagine fascist Nazis leaders such as Hitler and Mussolini who threatened the world and caused such terrible atrocities against other racial groups (The Holocaust and Italy invasion of Ethiopia). Furthermore, another disturbing thing that the world has witnessed wais the racial philosophy which white Americans used to believe in against black people in America.

Similarly, in South Africa acts of racial absurdity protracted for aeons – specifically some writers are mainly concerned about how blacks were racially treated by white authority in South Africa. Unfortunately such written materials which they produce eschew the fact to evince a kosher and clear tangible history of South African past racial history.

Moreover, such writers will quickly select large part of history of racism in South Africa with a purpose to illustrate what actually transpired throughout the period of racism in South Africa. It is a fact that majority of people who suffers lot of racial embarrassment and racial atrocity were black people. Notwithstanding, it is necessary to know that not all white people believe in the unfounded racial philosophy of hoity-hoity of white race over other races (Blacks). Essentially it is quite important for writers to think careful when they desire to write about anything that pertain racism in South Africa. Writers should avoid behaving like certain pastors in the church who only quotes the Bible were it only apposite to their feelings.

The imperative issue here is that people like Mr William Plomer had played a very pivotal role in expressing discontent about racial situation in South Africa. The stupendous and a well gifted literary figure, Plomer never hesitated to state his opinions unequivocal against racial injustice in South Africa. Plomer in his poems engages the reader in intelligent thought about the potential of poetry to capture and explore a consciousness of social obligation.

Among his earliest literary endeavours were co-operations with the editor of the Zulu-English newspaper Ilange Lase Natali (The Natal Sun), the writer, educationist and politician John L. Dube. The issue involved the possibility of a national literature and, under the pseudonym P. Q. R., Plomer published among other pieces on the race theme ‘The Death of a Zulu’, an intimate, lyrical account of a Zulu women mourning the loss of her husband. The point of the exercise was apparent to Es’skia Mphahlele when he remarked on Plomer’s depiction of the African person as a credible human being. (Southern African Literatures, Michael Chapman page 182-183)

William Plomer was a South African poet and novelist, and he founded the magazine Voorslag (‘Whiplash’) with Roy Campbell in 1926. He eventually settled in England and became the principal reader for the publishers Jonathan Cape in 1937. Turbott Wolfe (1925) his first novel, was remarkable for its angry denunciations of racism. The novel caused a scandal because it touched upon miscegenation and dared to criticize the supposed benevolence of whites toward blacks, even casting some white characters in the role of villains. I Speak of Africa (1927), a collection of short stories, exacerbated his reputation.

The life of William Plomer epitomized an elegant none myopic white writer who appreciates equality of all people before the law. He remains one of the few extraordinary white writer who display awesome intelligent in the literary world. In particular it is very healthy and interesting to know that Plomer lived in the time when apartheid was not official and he courageously wary about the unscrupulous racial demeanour of minority of white people. Sensibly writers should invariably display a clear consciousness in providing a true history of racism in South Africa. Inevitable the life and times of William Plomer reflects an authentic tale of South African none-racial society. As issues of racism in South Africa may arise sporadically in post apartheid, is quite necessary for the people of South Africa and the world to draw a life lesson from the remarkable white writer like Plomer who valiantly dismissed the unfounded philosophy of racism in South Africa without fear or favour.

Works

1925. Turbott Wolfe (novel)
1927. Notes for Poems.Hogarth Press, London (poetry)
1927. I Speak of Africa (short stories)
1929. The Family Tree. Hogarth, London (poetry)
1929. Paper Houses. Hogarth, London (short stories)
1931. Sado. Hogarth, London (novel)
1932. The Case is Altered (novel)
1932. The Fivefold Screen (poetry)
1933. The Child of Queen Victoria (short stories)
1933. Cecil Rhodes (biography)
1934. The Invaders (novel)
1936. Visiting the Caves. Cape, London (poetry)
1936. Ali the Lion (biography, reissued in 1970 as The Diamond of Janina)
1937. William Plomer (editor): Haruko Ichikawa: A Japanese Lady in Europe. Cape, London
1938. Selections from the Diary of the Rev.Francis Kilvert (1870–1879)
1940. Selected Poems. Hogarth, London
1942. In a Bombed House, 1941: Elegy in Memory of Anthony Butts (poetry)
1943. Double Lives: An Autobiography. Cape, London.
1945. The Dorking Thigh and Other Satires (poetry)
1949. Four Countries. Cape, London (short stories)
1952. Museum Pieces (novel)
1955. A Shot in the Park (poetry, published in U.S. as Borderline Ballads)
1958. At Home: Memoirs. Cape, London.
1960. Collected Poems. Cape, London.
1960. A Choice of Ballads (poetry)
1966. Taste and Remember (poetry)
1975. The Autobiography of William Plomer. Cape, London (revision of Double Lives, he died before he could rework At Home)
1978. Electric Delights. Selected and introduced by Rupert Hart-Davis

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FOR MALOME AGAIN !

March 23, 2015, 3:41 am

≫ Next: THE TANTALISING WORLD OF SKIETREKER

≪ Previous: William Plomer – much ahead of his time!!

By Richard Skietreker Seape

It feels like it has been decades without your presence;
Your zeal for literature and consistency in what you do,
There is truly a lot that I have taken from you as a young man
who is still to settle down in life and let a mark on this continent,

If i had to say you are missed that would be an understatement
because i know that many will not affirm to all your celebrated contributions
in the Free State and abroad, for indeed as people
we are quick to criticize and
quick to destroy
and slow to rebuild
and where respect and standing ovations are necessary
that is when we choose to shy away
and refuse to congratulate but prefer to rather keep
the Kudos for our own self-being as if that will change the ridiculous
price of bread;

Still in your absence we continue to grow seeds
like you have taught, though not the same without you,
We are truly blessed to have had a man of such calibre
amongst our midst
and it is indeed a historical landmark
that will speak of you Oga
That you came you saw you inspired you taught
and you excelled but most importantly
even when people thought you were finished
and gave you another label
You smiled and gave them hope
And a drink to toast to success and good wishes

You continued and put consistency on your shoulders
and now we celebrate and salute you

I would personally like to thank you
for the robust heart painted and dipped in Gold
and for the sharp tongue that gave
Birth to the Tebogo Series / Poems from Mauritius etc

I'm humbled to have been present
when you were present & availed yourself

Your absence has left a Gap of inspiration
But with Bards like Ntate Lechesa, Motheane and Qoopane & More
our rich culture & history of words
will touch and change hearts
and those who appreciate the things we write
for after all this is all we know.

And what we don't know we will accomplish
when we wake up for the second time
for now all we can do to change & be the change is
to become students of life
and learn and follow in the footsteps
of those who came & paved the way!

Thank you Ntate!

No one has ever done it like you

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THE TANTALISING WORLD OF SKIETREKER

March 27, 2015, 5:06 am

≫ Next: AFRICAN RENAISSANCE ANTI-CLOCKWISE By Pule Lebuso

≪ Previous: FOR MALOME AGAIN !

His dazzling repertoire and resume includes the following

1. Apartheid ek gaan jou Boks vol 1 (2007)

2. EP SuperGod 2011 (Cd)

3. Apartheid ek gaan jou Boks vol 2 (Book & Cd) (2013)

4. Released 3 free singles (Audio) (2014)

Skietreker feat Bishop TD Jakes – The struggle is in your mind (Remix)

Skietreker featuring Pastor Casey Treat – Finding your identity (Remix)

Skietreker - I wish

5. Respect our gifts (Book, Cd, Dvd) (2015)

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AFRICAN RENAISSANCE ANTI-CLOCKWISE By Pule Lebuso

April 1, 2015, 2:47 am

≫ Next: "HOUSEBOY" (novel) - by Ferdinand Oyono

≪ Previous: THE TANTALISING WORLD OF SKIETREKER

African Renaissance Anti-Clockwise (Book)

Written by Pule Lebuso

(First published February 2001)

Review by Ishmael Mzwandile Soqaga

I’ve been reading Pule Lebuso's book, African Renaissance Anti- Clockwise and I dramatically find it fascinating and interesting to read. Significantly I can add that the book is one of the fine books to be written by an African writer. The author’s belief is very imperative as it cerebrally challenges the reader and essentially provides transcendent debate about African Renaissance. In my opinion I could recommend that the book needs to be read with a glaring consciousness rather with a myopic apprehension that will cause defectiveness into realising the actual belief of the writer. Of course the book is non-fiction, however it comprises serious quiz about African values and culture.

Honestly, as an African I am very enthusiastic to see the book being a success in this wise, because it is not easy to find books like this being accepted by the powers-that-be in particular in Africa where leaders are not phlegmatic. As far as I know and I think is ubiquitous in Africa to see leaders shrug off the idea of being excoriated and commonly believe that whatever ideas they come with must be unanimously congenial to all. In fact some leaders of Africa invariably hold their own beliefs as absolute and they do not expect to be critiqued. For certain times we see the very same independent African states being intolerant to criticism. Sporadically, writers will be incarcerated without trial just because they write something which the state doesn’t want. Sublime writers like Wole Soyinka, Jack Mapanje, Ngungi etc all experienced the same persecution and unscrupulous treatment from their governments.

Fortunately there is a need to applaud with great felicity to see the book African
Renaissance Anti-Clockwise survived such treacherous treatment. The book is phenomenal for Africa and its inhabitants. The manner, in which the author elucidates his belief, verily evinces explicitly his proficiency that he is a veritable writer. Unlike writers who will only anticipate and appreciate what the authority is saying and write without quizzical or analyzing the concept comprehensive. Overall, the book by Lebuso gives courage and motivation that writers should not only think about writing to be loved and seek favour from the men who are in power. Writers by obligation are assigned to ventilate their opinion freely and produce genuine literature that is fair and arresting.

the late Mr Lebuso as an ardent African who was passionately fond about Africa and its culture never allows being allured by the concept of African Renaissance while African values are in limbo and malpractice. He strongly questions democracy which according to him affects African values and culture. Primarily, he based his argument on the decline of family values of Africa and the lack of discipline among the Africans. Although he is not antagonistic towards democracy but albeit, he is strongly discontented with its insipid and sub-standard practice. Mainly, he emphasised that democracy advocates certain rights of other people like women and children and neglects men’s rights. To reiterate; the book is not a fiction but its main point is based on democratic South Africa which is the strong proponent of 'African Renaissance'.

Specifically, Lebuso apparently believes that men (as opposed to women) have no place in a democratic society as his rights are wholly suppressed and not recognized. This is what he narrates in the “General Introduction” of his book. “I am getting worried when I see so many children living in such terrible conditions especially nowadays for they are being abandoned mostly by Fathers because of an obvious reason: Men being denied their rights of parenthood.” Lebuso make us to look on these things very seriously and apparently what is saying is what is happening. Did democracy bring a change that is satisfactory among the people of Africa or it is another force that intends to eliminate Africa? However, what is extraordinary about the author is his brilliant savvy which he displays with great prowess, to include other people's views over the issue of African Renaissance in his book.

Moreover, in the book we read how the author conducted his interviews to find more from the people regarding the idea of African Renaissance. In fact the interviews are necessarily exquisite as we see how people express their opinion unequivocally. This range of interviews took place from different places, public place, shebeen, with men, women, young and old furnishing superlative answers about African Renaissance. All responded with gusto to questions Mr Lebuso so eager to hear.

(A few excerpts)

Preliminary Conversation

Q Mr Mbena, could you please explain what you understand by African culture?

A By African culture I understand a culture of discipline when a child was a child and a woman a woman, when a man was a man not a ‘child’ like today.

African Renaissance Conversation

LEBUSO (sitting beside two rather young ladies – greetings)

My sisters, can you believe I’m going around asking for people’s views on ‘African Renaissance’ what do you feel?

First Lady: (pausing) African Renaissance. That thing of our president? I’m not sure I have thought seriously about it; life is about struggle.

Second Lady: Come on! Surely you must have an opinion. I mean. To me the aspect is all about the best features of original African culture. Maybe you might call it ubuntu. Like in the old days, our people hardly indulged in crimes. Human life was sacred. Strangers were welcomed into every house – there was fun. Now, we are all scared of strangers. It’s tougher for we women, as we might be molested or abused. If we can go back to the past there will be human dignity. At least much better than nowadays.

Final Conversation

LEBUSO: Negritude?

BOLAJI: Yes, quite a number of decades ago beloved, in Francophone countries here in Africa there was thing intriguing movement called negritude. Pride in our past, our heritage, culture, that sort of thing. Great writers like the late Leopold Senghor, Camara Laye, etc. contributed greatly to this movement. Pan African movements meeting were organized.

African Renaissance Anti-Clockwise has something important and stupendous to offer. To divulge further; it is a book that adapts with times. The book is logical and outstanding. The book is the profound example of how writers should be and think. Although colonialism had done great damage to Africa it does not mean that facts must be ignored about our own African leaders who are corrupt and uncaring about Africa.

It is important to apprehend that independence of African continent need not to be view as an Alpha and Omega or some sort of Manna from Heaven. It should be known that writing in Africa never began with the advent of colonialism and it never ultimately ends with the eventual dismantling of colonialism. Therefore writers through their hard work should not expect things will always be as good as anticipated, but they should be consciously ready for any circumstances, whether good or bad, even to face prison if it is possible - just for the love of words.

Africa, I believe, must be gladly delightful at what many pundits will consider to be a magnum opus book - i.e African Renaissance Anti-Clockwise by Pule Lebuso.

↧

"HOUSEBOY" (novel) - by Ferdinand Oyono

April 9, 2015, 3:41 am

≫ Next: Things Fall Apart - CHINUA ACHEBE

≪ Previous: AFRICAN RENAISSANCE ANTI-CLOCKWISE By Pule Lebuso

"I have held the hand of my queen. I felt that I was really alive. From now on my hand is sacred. .... My hand belongs to my queen whose hair is the colour of ebony...whose skin is pink and white as ivory. A shudder ran through my body at the touch of her tiny moist hand...my life was mingling with hers at the touch of her hand. Her smile is refreshing as a spring of water. Her look is as warm as a ray from the setting sun" - from House Boy

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Things Fall Apart - CHINUA ACHEBE

April 21, 2015, 3:12 am

≫ Next: ISHMAEL MZWANDILE SOQAGA (Book review)

≪ Previous: "HOUSEBOY" (novel) - by Ferdinand Oyono

'All our gods are weeping. Idemili is weeping. Ogwugwu is weeping. Agbala is weeping, and all the others. Our dead fathers are weeping because of the shameful sacrilege they are suffering and the abomination we have all witnessed...'

- From Chinua Achebe's Things Fall Apart

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ISHMAEL MZWANDILE SOQAGA (Book review)

April 24, 2015, 3:20 am

≫ Next: SURVIVE THE PEACE - By Cyprian Ekwensi

≪ Previous: Things Fall Apart - CHINUA ACHEBE

By Leke Giwa

The delights of reading can be expressed when one comes across impressive books unexpectedly. Such was the case with the book of Aderemi Adegbola which I reviewed some time ago.

This would take place again this week when I had the opportunity to read the book, Ishmael Mzwandile Soqaga. I was already aware of this new book thanks to the internet but it was a pleasure to finally read it.

This is a book that celebrates literature, African literature. The enthusiasm of the author is endless, and it can be no coincidence that his comments and reviews are always positive.

Ishmael Mzwandile Soqaga (by the way, he is a South African essayist and literary critic) is interested in writers from all over the continent. In this book he refers a lot to a wide range of writers and authors.

Specifically in at least three separate essays, he writes about writers who have died in recent times: "the peerless" Chinua Achebe, Obi Egbuna and Apantaku. He even lists most of the works published by these writers, which is good.

This is how Soqaga concludes about Achebe: "To be honest as a young black South African, I am deeply proud of the colossal, mammoth, phenomenal and imperative literary contributions of the great Achebe!"

Soqaga himself has published a number of books, this latest one being the third, I believe. In the early parts of this work we see some essays and critiques on Soqaga's own work. Thereafter he reproduces many essays he himself has penned on a number of books/authors. His language is often colourful, ecstatic and adjectival. Some samples here.

Throbbing South African Black Literature (edited by C Mautjana) "This book is gripping and absolutely whets the appetite for going through it again and again. It is an anthology which contains profound, enchanting essays and reviews from different writers. The book is a panoply of literary appreciation which focuses on the growth of black literature in SA".

Secrets (by Matshidiso Taleng) "As we witness the great thriving moment for Matshidiso, simultaneously we must feel worried about women's conditions in Africa. Many women are experiencing predicament situation in their lives; they are constant abuse victims, rape, molestation and chances for them to blossom are thwarted by an unequal world where man is still predominant. Infelicitous misery and anguish that women are faced with in today's life are unacceptable..."

From "A Trio of Poets": "I really relished reading the poems of the three remarkable bards... They are quite interesting and they are intended to furnish imperative insights into our society...it is good to see African writers unequivocally raising these serious continental issues in their writings; this is necessary as it suffuses awareness about the demon of xenophobia..."

Also: "It will be injudicious for me to avoid mentioning that Thaisi and Mzamo in their poems also pay great tributes to the now late world icon, Nelson Mandela. I strongly believe that the time for our African people at grassroots level to familiarise themselves with literature is imminent..."

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