MINE BOY - By Peter Abrahams

Review by Neo Mvubu

As a very young South African lady, Mine Boy touches the heart in such a way that it moves every inch of your body. This book – published over fifty years ago - has touched a part of me that I didn’t know existed. It explores the life of Xuma, a man born in the rural areas to seek wealth in the big city Johannesburg.

We walk with Xuma in his love life, in his path to find success as a miner and we realise the inequalities that the apartheid government imposed on him. As the story progresses we find him falling in love with Eliza, a woman who dreams of living the life of a white man, she loves him too but is pulled away by the luxuries, the material and the life that the white man lives. She then realises that that she cannot live with Xuma, at the same time, Xuma cannot satisfy her material needs.

We also experience the life of a miner and the conditions these people had to endure, the illnesses and the hunger and we see an old man who is on the verge of death but doesn’t disclose his disease, just to see his family pay off the debt!

The book is so visual that it pulls you into the lives of these people, you can see the people dancing in the street, drinking alcohol and you can see them blissful in their lives, even for that brief moment. The imagery is powerful, Peter Abrahams is able to create a picture that remains in your mind for years, and this is what one calls an unforgettable read.

As a young person in South Africa, we tend to take for granted the strides our people had to go through to ensure a great future for us and we don’t really understand what was going during the apartheid era, for me, it feels like it never happened, it’s like people never fought but when you read this book, you truly become part of your history. You tap into the daily lives of these people and experience every single emotion, the happiness, the heartache, the love and the music. You can feel yourself being part of the history and it just takes you back.

We see a man called Johannes in the book, this man was introduced into the life of alcoholism and never had anyone seen him sober. They say in the book, that white people introduced alcohol and then tried to take it away from black people, they introduced something that would take away the dignity of a black man and for Johannes, and it took away his essence. It took away the thing that made him who he was.

We also see a black doctor experiencing the same amount of racism and he doesn’t understand why he is treated like this. He is a doctor, tried to get the very education that would make him equal to a white man but it doesn’t and we get the impression that whatever you do, the whites would never see blacks as their equal.

Mine Boy was written many decades ago but we still see the racism taking place today, and this makes us realise that achieving a non-sexist, non-discriminatory democracy will take many more years; it is a journey rather than a destination.

Peter Abrahams addresses the plight of the black man in apartheid South Africa and makes us re-live the history in a visual way. This book is for people who appreciate black history, people who are eager to learn about themselves and where they come from.

LEWIS NKOSI: Literary icon breathes his last

Writer, composer and journalist Lewis Nkosi has died at the age of 73, the communications company, wRite Associates has announced. It said he died on Sunday after a long illness.

Starting his career as a journalist at the Zulu-language newspaper Ilanga lase Natal, Nkosi joined Drum magazine in the early 1950s.

When he received a Nieman Fellowship to study at Harvard University in 1960, he was forced to leave South Africa on a one-way exit permit, exiling him from his country of birth for the next 31 years.

He held teaching posts at several universities including Zambia, Warsaw, Wyoming, London and Brandeis.

Among his works are the novels Mating Birds, Underground People and Mandela's Ego. plus several volumes of essays. His plays include The Black Psychiatrist, We Can't All Be Martin Luther King, and The Rhythm of Violence.

Project director of the South African Literary Awards Raks Seakhoa said on Tuesday(Sep 7 2010) that Nkosi was "part of those talented few who took South Africa's literary heritage to greater heights. He was among the pioneers of South African writing during his stint at the Drum magazine,"

A memorial service would be held on September 8 at the Museum Africa, Newtown Cultural Precinct, in Johannesburg at 5.30pm. The funeral would be in Durban on September 10.

NERVOUS CONDITIONS (A Review)

NERVOUS CONDITIONS BY TSITSI DANGAREMBGA

By Neo Mvubu

Many have spoken volumes of an incredible woman of Africa. They have beaten their drums and ululated for a Zimbabwean queen who possesses a mighty sword; the sword of putting words onto paper. Tsitsi Dangarembga, the author of Nervous Conditions, could not have placed it any better.

The book reflects on the daily lives of the people during and after the colonial rule in Zimbabwe. The voices of her character have more depth and every one of those characters has a voice, a strong voice that cannot be ignored. Tambu the main character in the book sees her loved ones change after getting exposed to the Western culture. She sees herself also going through it when she enrolled at a mission school.

We walk a path of life with Tambu as she grows from humble beginnings to becoming an educated woman in her community. We see the pride in her mother’s eyes and also her fears after losing a son to these Western values. Her mother mentions ‘the Englishes” saying that English took her son away and that is also taking her daughter away too.

We see Babamakuru who has a burden of looking after his entire family from his earnings as a teacher, we see the pain he goes through and this is reflected in his wife, who cannot bear to see his husband go through this pain. Many at home appreciate what he does for the family but they do not understand the work that goes into providing for all those goods.

Nyasha on the other hand is Babamakuru’s child who grew up in England and spent most of her childhood at the mission school. She speaks this English that Tambu’s mother talks about vividly in the book and she forgets, she forgets her home language and forgets her childhood friend Tambu. Nyasha smokes, drinks alcohol, and does all those things that are foreign to a traditional home in Africa. She is then isolated from her larger family because she does not fit in anywhere.

We are given different perspectives in the book and Tsitsi Dangarembga, the author blends all these characters beautifully. She creatively infuses their spirits in one book and carries their souls with wisdom.

The book reminded me of when I went to a model C school, I had a coloured, Indian, white and black friends and we would all speak English. For me, there was no racism; it was just me and my friends playing. After a few years I could hardly speak Setswana fluently that was difficult for me to socialise with my own people. I was like an outcast and for many years I didn’t know why until someone said it. Throughout my high school years, I was called a snob by the same people I went to primary school with. I was in a way mocked for not knowing my home language, for being lost in transformation, in the rainbow nation.

My parents were happy I was getting a good education, they were proud that I could speak English, like there was a colonial mindset behind them that said knowing the language meant you were intelligent. I never meant to forget where I come from, I didn’t plan going to a model C school but I have a choice now and I speak Setswana and I feel that I am coming back to my roots.

Working as a journalist gave me a wake up call, I had to speak Setswana, I had or how else could I speak to a person who does not know English. I had to re-learn my home language at 19 years old, it was embarrassing at times but I did learn. Now I fit in everywhere, and I am proud to be a black woman who grew to know herself, where she comes from and what makes her who she is.

Nyasha in the book couldn’t have put my experience any clearer, she forgot where she came from. What western cultures do is belittle your own language of which language is the backbone of every culture, without it you lose your values, your ancestors, your roots and most of all you lose yourself.

I recommend every person, young or old, to read this book. It is a book that makes you remember why being rooted is so important to a human being, an African.

BOLAJI'S SHORT STORIES

Book: The Guillotine (2001)
Author: O Bolaji
Reviewer: Pule Lebuso

The Guillotine is the title of the 2001 collection of short stories written by Bolaji. There are ten stories in all in the book, and they are all short stories, ranging from 4 to ten pages. These stories were written between 1996 and 2000, and at least half of them had been published in various newspapers and magazines.

The Drunkard, one of the short stories, is a powerful, didactic, piece of fiction; it contains the usual humour and interesting 'scenes" one has come to expect from Bolaji. The character of Malome in particular, a famous charlatan is brilliantly done. Here is the voluble township wiseacre, full of himself "I'm a psychologist, psychiatrist, psychoanalyst “ he says absurdly, with self-importance.

After reading this story, we are left in no doubt that excessive drinking is not only irresponsible, but dangerous. We are filled with disgust when we read: "The next thing he (Elias) remembered was waking up somewhere in the township, far from his own place, and feeling extraordinarily uncomfortable - in the discarded chassis of a car. He hated himself, seeing some blood stains on his clothes and body, feeling a horrible wound on his face, drenched in his own urine and vomit; hating his own goddamn awful body smell"


(The Guillotine, page 39)

Love Hurts, one of Bolaji's most popular writings (originally published in Drum magazine over a decade ago) is also reproduced in this collection, in book form. A new generation of readers can enjoy this short story that enhances Bolaji's reputation as "African master of the unexpected"


Although interesting enough, The shocker is rather mediocre but deals with the well-worn theme of disappointment in love. The Blabbermouth is a simple enough story too. The language seems quite harsh in the opening paragraphs with the author obviously angry and disgusted with exceeding dishonesty. The conclusion of the story is full of bathos, though.

Two short stories in this collection deal with the supernatural: The Dream, and The Ghost. Both have the usual Bolaji "twist"; The Dream is an interesting story weaved around the Italian phrase "delle bestie con le belle voci". In The Ghost we are introduced to a delightful lady who is too good to be true:

"He felt that there was something 'different' about her, the unearthly glow of her skin...the ethereal whiteness of her teeth: even her voice was so melodious that it defied description...like sweet, congenial rhythmic bells ringing harmoniously"

(Page 44)

Many men young and old, have commented that they found the story The Narrow Escape the most interesting and the funniest. It certainly is an enjoyable story as a young man who cannot stop himself from "seducing" a sexy young lady apparently finds himself in serious trouble

Another Little Drink has a twist of its own too, and one cannot but wonder at the folly of the young man involved here. We are also reminded of the Sarafina 2 play.

The Blackmailer, another popular story of the author's is reproduced in this book too; and in this version some other paragraphs have been added. This is Bolaji doing what he does best: quickly building up a tale, which ends in a completely unexpected manner. It turns out that nobody in this story is what he/she first appears to be.

Now for the very short story, The Guillotine. It is food for some thought. It can be viewed as pathos, bathos, or even idiosyncracy of the highest order. I have heard some readers even claiming that it "symbolises" the sacrificial nature of the author himself, with the protagonist being something of a martyr. This impression is accentuated because the author writes the story in the first person.

In The Guillotine the patent unfairness of the fate and plight of the narrator has to be viewed against the backdrop of his obvious emotional "immaturity" and idealism as he willingly opts for death:

I said: "Sir I want to die too". I moved into the tumbril and a great gasp and shout went through the town. The man in charge said: "Why do you want to die?" I explained that my heart had been broken by a lady. And I heard a horrible peal of laughter, a gargantuan tidal wave of derisive laughter...And the crowd began to chant: "He must die! He must die! the naive man must die...the sentimental guy must die first!!!"

(Page 29)

We should however note that The Guillotine is pure fiction and we do not need to read much into it. The protagonist passionately demonstrates the type of suspect, ultra idealistic love exemplified by Doctor Kawa in Lenrie Peter's novel, The Second Round. It is also interesting that at least once (in a personal poem) Bolaji confesses that he himself "has always been a stickler for romantic love" The short stories in the book, The Guillotine are indeed "mouth watering"

FASCINATING LITERARY GALLERY ATTRACTS TOURISTS

FASCINATING LITERARY GALLERY ATTRACTS TOURISTS

By Flaxman Qoopane

Tourists attended in large numbers the Qoopane Literary Gallery exhibited at Tsa Setso Arts and Craft 2010 Soccer World Cup South Africa, held at the Mangaung Information Centre in Bloemfontein from 10 June- 11 July 2010

Tsa Setso Arts and Craft 2010 soccer World Cup South Africa was presented by the Department of Sports, Arts and Culture and Recreation in the Free State province and is supported by the Department of Arts and Culture Republic of South Africa

Flaxman Qoopane is the curator of the Qoopane Literary Gallery who exhibited one hundred photos of South African, Nigerian, Zimbabwean, and Malawian writers and their profiles. He has also added new exciting writers like Hector Kunene and Skietreker Seape to the Gallery.

James Agori, journalist of This day Nigeria, together with Jones Bamidele from News Agency of Nigeria (NAN) and John Ebhota from The Nation newspaper in Nigeria visited the exhibition. “It is one of the best sources of literature in Africa that researchers can benefit a lot from it” said James Agori

Kgomotso Sekhabi, from the Department of Arts and Culture in Pretoria said: “A wonderful initiative that will really need to be supported as it promotes South African writers that have made a tremendous contribution to the literature of South Africa. Keep up the wonderful work, Mr Qoopane”

Jorge Arellana Lavanderos from Chile said: “This is a good development in preserving literature. It will be good for Chilean writers. South African writers can exchange experiences and do cultural exchanges in their works,”

Ing Milin Kamuscak from Bratislava, said: “This is the greatest collection of African writers I’m seeing for the first time in my life, I learnt a lot about literature in Mandela’s country birth”

“I am very excited that the Department of Sports, Arts and Culture and Recreation has given me an opportunity to showcase my gallery during the 2010 soccer World Cup. So far, my exhibition attracted tourists from Chile, Italy, Korea, Nigeria etc and we exchanged contact. I urge other tourists to visit Mangaung information centre” said Qoopane

Mangaung – Bloemfontein
South Africa
Cell: 073 565 7783
Email: qoopaneliterary@yahoo.com

BREAKDOWN OF 70 OF THE WRITERS FEATURED IN QOOPANE’S AWESOME GALLERY

1. WOLE SOYINKA
2. FLAXMAN QOOPANE
3. PULE LECHESA
4. KDP MAPHALLA
5. LETSHASE NAKELI
6. JIM MOKOENA
7. ANDRE BRINK
8. PROF LEWIS NKOSI
9. NADINE GORDIMER
10. PETER ABRAHAMS
11. LAURETTA NGCOBO
12. PROF PITIKA NTULI
13. DR. GOMOLEMO MOKAE
14. SABATA MPHO MOKAE
15. ERIC MIYENI
16. K.SELLO DUIKER
17. FRED KHUMALO
18. KAREL SCHOEMAN
19. PROF KEORAPETSE KGOSITSILE
20. LEBOGANG MASHILE
21. NAPO MASHEANE
22. NTSIKI MAZWAI
23. MPUTLANE OA BOFELO
24. NAPE’A MOTANA
25. LETLAPA MPHAHLELE
26. PROF MBULELO MZAMANE
27. DON MATTERA
28. KGAFELA OA MAGOGODI
29. FRED BILA
30. LESEGO RAMPOLOKENG
31. GCINA MHLOPHE
32. CHINUA ACHEBE
33. DAMBUDZO MARECHERA
34. SIPHO SIPAMLA
35. CHRIS VAN WYK
36. JESSICA MBANGENI
37. K.E. SELEBANO
38. DBZ NTULI
39. SUZAN SEFATSA
40. WINSTON MOHAPI
41. INGOAPELE MADINGOANE
42. MATSEMELA MANAKE
43. LEFIFI TLADI
44. SANDILE DIKENI
45. SINDIWE MAGONA
46. OMOSEYE BOLAJI
47. PROF ESKIA MPHAHLELE
48. BESSIE HEAD
49. JAMES MATTHEWS
50. MIRRIAM TLADI
51. MONGANE SEROTE
52. DR. ZAKES MDA
53. ANTJIE KROG
54. JACK MAPANJE
55. KEN SARO WIWA
56. ELLEN KHUZWAYO
57. PHASWANE MPE
58. TOEK BLIGNANT
59. JOHN MATSHIKIZA
60. TODD MATSHIKIZA
61. CAN THEMBA
62. NAT NAKASA
63. MYESHA JENKINS
64. MAKAAMOLE MANAKA
65. KOLE OMOTOSO
66. CREDO MUTWA
67. ZOLANI MKIVA
68. MATHEWS PHOSA
69. DR. J.J. MOILOA
70. MARIETA VAN ASWEGEN

YOUNG BLOOD

Book review: Young Blood
July 15, 2010

By Tshepo Tshabalala

Young Blood

By Sifiso Mzobe (Kwela Books, R175)

Mazobe's work is inspirational. He is prone to a few jagged transitions, but the story is something the South African movie industry should take thorough note of.

It tells the story of Sipho, 17, who lives in Umlazi, Durban. After doing dismally at school, he drops out to help his father fix cars at home.

Soon his shrewd friend Musa returns from Joburg after applying his intelligence to shoplifting, which progressed to carjacking, eventually earning him a stint in jail. When local carjackers learn of Sipho's skill behind the wheel and under the bonnet, they want to recruit his services. Musa decides against the idea of Sipho running around with untrustworthy cliques, and hooks him up with a few projects he is overseeing.

Sipho tastes the life of quick money and soon grows a hunger for it. He joins in the 'jacking and dissembling of cars, making easy money. But the game becomes more dangerous, leading to drugs, problems with the cops and a trail of death.


The novel explores the materialism around relationships that pressurises especially the male youth into finding means of making cash to avoid segregation. It is about the sacrifices one is willing to make to fit in, and the conflict of working towards a better life, even in a manner that is destructive. It takes you into the underground world of hijackers, money-lovers and misers. It is a breath of fresh air.

The writing is rough, but clever. The story pulsates with energy that makes it intense and very real. It is a voice that tells about crime and how it speaks to the youth through poverty. The read is a thrilling, action-packed diamond in the rough. -- Tshepo Tshabalala

* Courtesy of TONIGHT

DEEPEST SPRINGS - utterly satisfying

(Above) NMM Duman

By OMOSEYE BOLAJI

Reading NMM Duman’s Deepest Springs is a veritable excitement, a highlight in the life of an authentic black African who cherishes and relishes good writing, poignant plots and descriptions; brilliant writing in general. In sum, I have no doubt in my mind that this work is one of the most breath-taking and satisfying in the pantheon of African literature.

Indeed, the danger in a case like this is that the reviewer or critic of a superb, imaginative work like Deepest Springs can go overboard with superlatives, praising a work to high heavens. Yet the “critic” must do his/her job in a conscionable manner. Though in the case of Deepest Springs, it is obvious that Duman is a tough critic herself (self-critical) who has taken time to ensure that the final product, her book, is outstanding. As all time great TS Eliot tells us:

“The larger part of the labour of an author in composing his work is critical labour; the labour of sifting, combining, constructing, expunging, correcting, testing: this frightful toil is as much critical as creative”

Yes Deepest Springs bears comparison to the best of African writing – whether it be the novels of Buchi Emecheta or Flora Nwapa or Miriam Tlali or Tsitsi Dangaremgba (the all time greats of female African writing). But it goes beyond this – I have no hesitation whatsoever in comparing this work to English classics like those written and still revered, by the Bronte sisters for example (Charlotte and Emily Bronte)

Indeed the "sexual passion" that runs through Duman’s work echoes and adumbrates the best of English works like Jane Eyre (by Charlotte Bronte) and Wuthering Heights (by Emily Bronte). The fact that, effortlessly author Duman gives her own great story an African background, with excellent Sesotho (African) references; not to talk of Afrikaans is a thing of unbridled joy. And celebration.

Of course in those days – over 200 years ago or so- the Bronte sisters could not write specifically about sex despite the smouldering, powerful emotions in their work. The world has moved on, hence in Deepest Springs there are references to sex, decently couched – whether it be the deflowering of our protagonist Dikeledi; or making love in the bathroom (whilst washing) or in the bush/forest.

African literature has thrown up memorable female characters, including a gallery of women of ill-repute. For example this classical extract from Wole Soyinka’s Season of Anomy:

“We must acknowledge the fact that (women) are the familiar vanguard of the army of change. When the moment arrives a woman like Iriyise becomes for the people a Chantal, a Deborah, torch and standard-bearer, super mistress of universal insurgence. To abandon such a potential weapon in any struggle is to admit to a lack of foresight. Or imagination”

Dikeledi is a fine young lady compounded of the variegated emotions of our world, and who is very much in love with her man, despite vicissitudes. She can also be self-sacrificing and stoical as in the case where she remains philosophical and reticent about the abuse (beating) she had earlier received.

The hypocrisy of certain traditional beliefs is also evident in this work and it is also a mark of an excellent writer (Duman) that she does not take sides (as a woman)directly. A good example is when they refer to Dikeledi as a “slut” just because she allows her aroused lover to sleep with her before the formal wedding. She was a virgin even then, so why should she be condemned?

That Duman is a polished, creative writer can also be seen from the many occasions when she enters “the mind” of male characters with great conviction (although of course the author is a woman). Like in the case when Dikeledi’s lover after making love muses over why he was behaving like a naïve, uncircumcised nerd! Such strokes clearly show that the author is a master of her craft!

I can go on and on, but a reviewer (or a critic) is supposed to open doors as it were, give glimpses into a pertinent work which would encourage others to read such a work and bask in its excellence. I am very happy to recommend this outstanding work to all readers from around the world…

(Omoseye Bolaji is the author of over 20 books. His awards for writing include a Lifetime Achievement Award, the Chancellor’s Medal from the University of the Free State, and an African Chieftaincy title)