LITERARY LEGACY OF MAGEMA FUZE

BOOK REVIEW
Book: Magema Fuze
Author: Hlonipha Mokoena
Publisher: University of KwaZulu Natal Press
Reviewer: Mpikeleni Duma

Who was Magema Fuze? This book provides the answer in fulsome, scholarly fashion. Fuze was in fact the first Zulu (black) author to write a book in Zulu. He was an early top-notch intellectual and this book sheds light on his scope and achievement.

In 1922 Magema Fuze published Abantu Abamnyama Lapa Bavela Ngakona. He was subsequently categorised as a first generation kholwa intellectual, a precarious genre in those days. Fuze wrote as an aspirant historian, and certainly did not – or could not - fulfil his potential in that era.

Interestingly, the author also shows us how the printing press defined the course of Fuze’s life as both a technician and a devotee (Fuze in sum during his lifetime was a printer, Scribe and popular historian)

In this book we see how important the newspaper, Ipepa Lo Hlanga was in the old days. From its early days in the 1880’s this press was a platform and expression of the intellectual, cultural and social aspirations of the (Zulu) public. Fuze’s contributions to the newspaper broadened his horizons, his range and breadth, culminating in his producing his book.

This book comprises living history, tracing vicissitudes of the Zulu kings and kingdom over the years. In this respect Fuze’s works remind us of the great visionary Zulu poet, Mazisi Kunene; though of course Fuze lived many decades before Kunene, and as a journalist he lived and wrote through a very important period.

Arguably, this also means that Magema Fuze’s account and writings are necessarily much more convincing (not fictional). The passion and ardour in Fuze’s book (and writings) shine through, despite his background as a mission educated African.

This book is the latest addition to laudable biographies which have been written and published on early South African great black writers – eg Brian Willan’s biography of Sol Plaatje; Catherine Higgs’ biography of D.D.T Jabavu; and Tim Couzens’ biography of H.I.E Dhlomo.

The author has painstakingly put together a work that celebrates the whole essence of the life and literary achievements of Magema Fuze – from his childhood, his education, literary influences and his own extensive corpus of work; including his ground-making book, Abantu Abamnyama (1922).

This is a breath-taking, scholarly work produced by the author (Hlonipha Mokoena), who is assistant professor of anthropology at Columbia University in the City of New York. An invaluable book for scholarly and record purposes.

THE GHOSTLY ADVERSARY

Book: The Ghostly Adversary
Author: Omoseye Bolaji
Publisher: Drufoma (South Africa)
Pages: 116
Reviewer: Rebaone Motsalane

Sometimes, I hate a well written book. Maybe “hate” is rather a strong word, but I fail to find a proper alternative.

A good book lingers in your mind longer and it takes another book to cool you down. I have read so many books by Thomas Hardy and they always lingered in my mind and some have made a permanent space there.

The Book, The Ghostly Adversary (by Omoseye Bolaji)reminded me of Thomas Hardy though it is not really as melancholic as his stuff. Still, it really got on my nerves and now I am faced with the need to wipe my mind clear again.

Omoseye Bolaji has a love for the detective story, brilliantly written and I have enjoyed most of them. But this one hit a nerve as a woman, reading about the devastating effects rape can have on women.

Light hearted at first, I did not even guess that he was addressing rape and its impact and how brutal rapists really are. Though he tried his best to paint an un-frightening rape scenario, any rape story is a trauma to any woman.

It is only in the end that the mystery behind the attacks orchestrated on this woman raped twenty years ago is revealed.

She was raped in her teens and will never be the same again and dedicating her life to educate and teach others about rape.

One would think that after revenge she would be able to move on with her life, but the scars of rape were too deep and she ended up having to fight each and every man that wronged her in the end.

It is indeed a good book, but it will take a while before I gather my strength to read another detective book!

The book is for every one, tainted or not tainted by the crime of rape. It is a good detective story and available in local libraries.

P.S: If you know a less melancholic Thomas Hardy book, let me know…or then again, maybe not!

* This review was originally published in Mangaung issue (Jan 26, 2011)

CELEBRATING LEWIS NKOSI AND HIS SUBLIME HUMOUR

By O BOLAJI

When an illustrious African writer like Lewis Nkosi departs this world, the sorrow is profound for lovers of literature. Our consolation however is that we can always read and re-read the excellent literary works they leave behind.

In the case of Lewis Nkosi, the success of his novel, Mating Birds was quite staggering and the literary acclaim he garnered – and continues to garner – awesome. Yet for me, it is the humour in the work that always sticks in my mind. Although I say “humour” it is actually biting irony; as the perceptive reader, regardless of colour, realises how inhumane and horrific the erstwhile apartheid system was in South Africa.

Mating Birds on the surface is a simplistic work, brilliantly narrated in the first person by a young black man who had committed a terrible “crime” during the apartheid era – he had “raped” a white woman! In those days sexual relations between the different colours was strictly forbidden, hence the protagonist was facing the death sentence – which was duly passed on him (death by hanging)

But the primary irony is that Sibiya, the protagonist of the work had not actually raped the white woman; we can see clearly throughout the work that the lady liked him, and was even sexually attracted to him. She keeps on encouraging his interest in her which includes his coming to watch her at the beach, following her around, her not minding him hanging around just outside her home; and ultimately the prelude to his “rape” was when she took all her clothes off and despite seeing him just outside her home, she still does not close her door!

Nevertheless according to the laws of the time, the protagonist had committed a terrible crime, and had to die for it. The author, Lewis Nkosi subtly and intelligently shows the world that neither the white woman (Veronica) nor Sibiya were really guilty (the white lady had to lie in court that she was raped by a black man anyway; how could she ever admit that she welcomed his attentions?) – the real culprit was the apartheid system that completely disallowed any sort of intercourse between people from different races, with romance and its ilk a taboo!

As I have said, it is the “humour” or ironical devices that give this novel its haunting, lambent, unforgettable impact. Here I shall reproduce a few examples in celebration of the literary genius of the author, Lewis Nkosi. Whilst in the University, a key lecturer white explains to students like Sibiya that “whether we like it or not, African history commences with the arrival on African soil of the first white man. The history of Africa is the history not of black Africans but of white men in a foreign environment...”

The Court case of Sibiya for the rape of the white woman is a cause celebre with the young black man portrayed as a devil incarnate who had violated a hapless, white woman. After her testimony in court about her “rape”, the whites are outraged and incandescent with rage: Our narrator says: “(Hers) was a magnificent performance. A number of white men rose as if preparing to leap over the public galleries in order to get at my black carcass...others were crying ‘Lynch the (baboon)!”

Even the prosecuting lawyer has no time for Sibiya’s protests of defence that the white woman had encouraged him amorously; the prosecutor shouts at Sibiya in court: “You think a white madam can feel flattered by being gazed at by a baboon like you!” This from a learned lawyer!

Another white man in court bursts out: “Why not cut off his filthy black dingus, the rotten swine!”

That Sibiya is sexually drawn to Veronica, the white girl is never in doubt. The narrative reaches a crescendo as he finally realises his dream and takes her rather wildly inside her own room. She is clearly a willing participant in what is going on, but Sibiya realises only too well that he is throwing his whole life away by having sex with her. Death by hanging loomed! Yet the protagonist has reached a point of no-return; a situation reiterated by a brilliantly terse, grim, oxymoronic line which is also arguably a double entendre as he makes love with Veronica: “but come what may, I was determined to reach my climax,”

As he ultimately waits to be hanged in gaol, Sibiya reflects on everything and “bonds” with an eminent criminologist in the process, Dr Dufre (the Doctor is preparing an exhaustive study on the “criminal” Sibiya). Near the end, we are blithely told by our protagonist: “Upon the publication of his study, Dr Dufre will (receive) accolades for having conducted an illuminating study of the tormented mind of an African criminal (Sibiya). At least one person, I am glad to say, will benefit from (this tragedy)”

It is by the use of such profound, yet haunting irony (or as I dub it “humour”) that the author complements one of the greatest works ever churned out in African literature.

* O Bolaji is the author of imaginative books like Impossible Love (2000) The ghostly adversary (2001) People of the Townships (2003) Tebogo and the Haka (2008)Tebogo and the epithalamion (2009) and Tebogo and the pantophagist (2010)

MBALI XULU MAKES HER MARK!

When Ghana’s Ama Ata Aidoo published her wonderful work, Our Sister Kill Joy decades ago, the world warmed to the work, and still continues to praise it. Although more of a novel it was the powerful, lyrical lines of poetry in the book that grabbed most of the critical attention and praise. This shows that Africa’s women writers have always been able to churn out memorable poetry.

South African women have also been holding their heads high in the genre of poetry. The men of course seem to be streets ahead in this wise, but it is certain that more and more women are making their mark as poets. For many years Karen Press has been a formidable figure in poetry in the country; in recent times the likes of Lebo Mashile, Napo Masheane, Ntsiki Mazwai, Nthabiseng (Jah-Rose) Jafta have taken their rightful places as laudable female bards too, displaying “tongue-twisting immaculate diction”

Now Mbalenhle (Mbali) Xulu has published her debut collection of poetry titled “THE UNDYING SPIRIT OF A WOMAN”. The book is published by New Voices Publishing in Cape Town. The new author is understandably proud to have joined the vibrant ranks of female writers in the country

In an interview with fellow poet, author and columnist, “handsome” H Kunene, Xulu said, inter alia:

“I guess writing has always been part of me, but it’s just that maybe I didn’t realise then that it was a talent. As child I was very reserved and was the kind of child that wasn’t able to stand up for myself and was also very, very shy. That is when the writing had a role, whether I was sad or feeling left out (you know how cruel kids can be in their own way), or my mom had just given me a smack or I was cross for whatever reason, I’d resort to jotting down what I thought of the situation or how I was going to go about dealing with the situation at hand. That time it wasn’t mostly poetry, but it would just be a one line phrase trying to console myself or even a paragraph with positive thoughts…In 2008 we had an Aids Day function at work and there wasn’t much on the program, and it surely looked like it was going to be boring, so I decided to write something. That’s when I did my first complete poem called; I REFUSE TO GIVE UP, which is in my book, The Undying Spirit of a Woman. (This book) is my first book to be published, and at the moment I’m working on the second one for married couples called, Marriage that Actually Works…”

A warm welcome from the literary fraternity to Mme Xulu!

- Malome Eric

SPEAKING FOR THE GENERATIONS

SPEAKING FOR THE GENERATIONS

Review by Raselebeli Khotseng

Book: SPEAKING FOR THE GENERATIONS (2010)
Editor: Dike Okoro
Publisher: Africa World Press, Inc
Number of pages: 218
Reviewer: Raselebeli Khotseng


Anthologies of “contemporary African short stories” have been churned out over the decades. In the early period of African writing, illustrious names like Chinua Achebe,Ngugi wa Thiong’o, Dambudzo Marechera,Okot p’bitek etc were also renowned for their short stories (as distinct from their novels)

Indeed Chinua Achebe was the protagonist of at least two excellent such anthologies himself over the years. No matter what some cynics/detractors might claim, short story writing will always be dynamic and bubbling, straddling the whole African continent.

Talented short story writers will always emerge on a regular basis. For example in Lesotho, there is a remarkable short story writer called Leseli Mokhele. In the nearby Free State (South Africa) the very young Teboho Masakala is already making a name for himself in this genre.

This particular anthology titled “Speaking for the Generations” has been put together by Dike Okoro, with some 48 contributors. Okoro is a well known poet, short story writer, editor, essayist and critic. He is Assistant Professor of English and World Literature at Olive-Harvey College, Chicago (USA)

Contributors to this book include Benjamin Kwakye, Freddy Macha, Tijan M Sallah, Jackee Batanda, Aryan Kaganof, Mohammed Said Raihani, Tanure Ojaide, Lola Shoneyin, Kondwani Kamiyala, Dan Wanyama Innocent, Noun Gana, Omar A Alkakli, Emmanuel Sigauke, Prince Mensah, Ayobami Adebayo, Joyce Ashuntantang, Sitawa Namwalie, Eresina Hwede, Kobus Moolman.

Other contributors are Temitayo Olofinlua, Dipita Kwa, Akoli Penoukou, Moustapha Laghiri, Ilonga Ngale, A Igoni Barret, Ozioma Izuora, Yangange Wose, Niran Okewole, Tembo Magarimbo, Yewande Omotoso, Becky Apteker, Folake Idowu, Adekunle Afolabi, Beatrice Lamwaka, Mohammed Ferri, Emmanuel Iduma, Arja Salanfranca, Hicham Harrak, Ken Efeh, Said Ahoubate, Dipo Kalejaiye, Roland Marke, Zehra Ramij, F Odun Balogun, Onyi Udegbe, Khadija El Younoussi, Joseph Obi, and Habib D Rabbi.

The editor (Dike Okoro) writes in his Introduction to the book, inter alia: “This book represents fresh insights by some of the very best established and emerging voices of contemporary African fiction...many of these writers grapple with themes that are diverse and universal...(e.g) Aryan Kaganof’s story tackles contemporary South African reality using the politics of living in the post-apartheid era as a yardstick for understanding some of the struggles that a citizen (in South Africa) experiences...stylistically, the stories featured in this book are strong indicators of the oral tradition...it is my hope that readers will be able to identify with the Africa reflected here...”

From a personal point of view, I fairly enjoyed reading most of the short stories in this anthology. I will not say I found the stories particularly earth-shattering, but the thing about short stories is that one can read them individually at one’s pace; and even the most tedious of them come to an end soon! I commend the editor of this work for going out of his way to include writers from virtually every nook and cranny of the continent.

HOLD BACK YOUR TEARS

Book: Hold back your tears
Author: Raselebeli Khotseng
Introduction by Pule Lechesa


From the Introduction of the book...

The publication of this book comes at a very important, exhilarating period in Free State Black literature. Many literary pundits have pointed out that, stripped of exceeding literary criticism, this year (2010) has been a remarkable year for writing – with the emergence of writers like NMM Duman, Hector Kunene, Jah Rose (Nthabiseng Jafta), Teboho Masakala.

Not all of them are poets; in fact Kunene and Jah Rose are the recognised poets. They are young, promising and confident. It is part of the irony of the literary pantheon that they actually published their books of poetry before a veritable doyen of poetry in the Free State, Raselebeli “Magic” Khotseng.

What is the quintessence of poetry? Amidst the cymbals of the distinction between real poetry and prose, we can at least say that we expect poetry to comprise heightened, elevated language; with moving imagery thrown in for good measure. In this wise nobody can deny that “Magic” is a good poet!

Nobody deserves a book of poetry more than Mr Raselebeli Khotseng. His dedication and sacrifices for poetry are legendary and date back to some two decades ago! Yet this remarkable individual has never published a book before, though of course his poems have been published liberally in a wide variety of publications over the years.

As for the quality and maturity of Khotseng’s poetry, his talent has always belonged to the top drawer. He is easily one of the best in the country. On a personal level, I might criticise this great poet for the rarity of humour in his poetry – but this Introduction does not intend to critique “Magic’s” poetry – rather to celebrate his life work...

PULE LECHESA (November, 2010)

SHADES OF HUBRIS IN JAH-ROSE'S WORK

SHADES OF HUBRIS IN JAH-ROSE’S WORK

By Pule Lechesa

Book: Rooted from the Heart
Author: Nthabiseng Rose Jafta (Jah Rose)
Pages: 83
Reviewer: Pule Lechesa

The old Greeks had a word for it: hubris. This means pride. Unbearable, overweening, even irritating pride!

We might as well note that Hubris was considered a crime in classical Athens. It was also considered the greatest crime of the ancient Greek world; "outrageous treatment" in sum. It often resulted in fatal retribution or Nemesis, the protagonist’s downfall in general.

Yes, hubris! This is the distinct impression one gets whilst reading this work. This might as well be the work of a deluded potentate when we read early poems here with lines like:

“The crown I am wearing
The queen ship I feel…
(pg 1)

“Beautiful girl born…
A real beauty from the inside out
Gone and going to surprise the world”
(pg 3)

Admittedly, one must commend the author/poet f or ensuring that she produces a beautiful looking book, the fascinating cover, the litany of fine photographs o herself etc. the problem is that this is the only aspect beautiful about this work. This is a book that looks beautiful on our shelves – but sadly that’s where the beauty ends.

One’s mind goes to the magnificent English writer and playwright, Oscar Wilde who used to insist that works of art are not capable of being moral or immoral but only well or poorly made, and that only "brutes and illiterates," whose views on art "are incalculably stupid" would make such judgements about art. Aesthete though he was, many would disagree with this.

The insights provided by the poet, in the book Rooted from the Heart, if any, are negligible – even in the nigh average poems. Consider the poem “1652” for example...(pg 41)

“The abuse of power is what we see
All they do is blare instead of act
They are wrapped up with greed and selfishness
They earn millions yet they still scheme fraud
He he he...”

Alas, there is nothing poetic about these lines, no imagery, no puns, no exhilaration. We might as well be reading ordinary prose – like virtually all the poems in this book – instead of deceiving ourselves that this is poetry

In the “poem” MISSING YOU (Page 64) one definitely comes across a bad piece of composition. The faults of style and misplaced emotions aside, there is a jarring vulgarity that finds expression in lines like this:


“The feeling from your touch
The feeling from your lips kissing mine from the neck
To only you and I know to where
The feeling from when you thrust
That snake growing under your tummy in me
And it makes me wanna go oooohhh!...”

No lines could be more banal, and irritating (not to talk of bordering on indecency for sensitive readers). There is nothing poetic here. We have seen distinguished African writers like Njabulo Ndebele, Soyinka and Laye writing about sex and incorporating superb imagery. Here we are confronted with pure unimaginative trash.

The same is true for “MONARENG” (Page 68)

“He became mine and I became his
I watched him sit on that toilet seat and
Chat with him like we were in a decent place
He lets me in...”

It is unlikely that even DH Lawrence at his most vulgar went this far, but at least he had luxuriant imagery to push his ideas further

But enough of the despair – let us end this review on a positive note. The poet writes late in the book about how therapeutic she finds her poetry:

“I have been going through my poems
It’s amazing how the stuff one writes
Seems to heal...”
(page 80 )

It is as well that she feels like she has been healed by her poetry. Pity she’s the only one; as readers are unlikely to feel such healing after going through this book.