A review by Peter Moroe
Writings on the palm tree is the long awaited debut collection of poems by Tiisetso Makhele, a Free State writer from the grassroots who has been in love with poetry since he was very young.
Indeed the blurb of the book tells us: “In the Free State quite a number of poets at grassroots level have excelled and done great things for poetry. Those in the vanguard – most of them have published books of poetry – include Lebohang Thaisi, Job Mzamo, Teboho Mohanoe, Pule Lechesa, O Bolaji, Leslie Tlhabanelo, Tanki Phafoli. Revered poets now deceased include Gilbert Modise and Pule Lebuso.
Tiisetso Makhele, the author of this work (Writings on the palm tree) occupies an intriguing position in Free State poetry. As a youngster, in his mid-teens, he was already producing prolific verses, at the time he carted off prestigious awards like a CNA prize for poetry. Yet Tiisetso seemingly went off the boil for years – but now, he’s back!”
Writings on the palm tree contains the following poems: writings on the fig tree, still echoes, piano stands lifeless, hidden in the word, emptiness, Disease of love, contours of knowledge, wrecked peace, child of battle, provocation, Hungered crocodiles, eyes of a child, Emeralds in the crazy mind, and Air of poverty.
Despite his youth, Mr T Makhele is a rather long standing poet, hence his dexterity with words, and almost effortless imagery. Examples abound, even from the first poem. “Thorns of the strong wind whiz through my eyes”; “letters on trees…shone brilliantly through the darkness”
Through the poems we get glimpses into the poet’s background/childhood:
Days of my quiet childhood
When writing poetry was my only escape
From the reality of limitless struggles
Poverty in the home
And from the same poem (“Still echoes”) we can enjoy another fine piece of imagery “morning winds play guitar with the trees”; and from the poem, “Piano stands lifeless”:
Skeletons of violets warp
Duet with skies grip at pause
Roses not at peace
Sprinkles of lavish silence
Strangles their rain of life”
“Hidden in the word” is an important poem that, through personification, shows how strong and resilient the written word can be. “She’s brought into life/by paper pen and machine/she can knock onto the clouds/To breed rains of blood/ she can send white doves/ to skydive peace in warring air!”
From “Hungered crocodiles” we have the alliterative line “cluster in clandestine conspiracies”. Many poetry lovers believe that a good poet is one of whom one must read and re-read their works to uncover hidden layers of meaning, or just to understand the verses in part. In this wise Tiisetso Makhele is quite a satisfying poet.
Tuesday, March 22, 2011
DEEPEST SPRINGS By NMM Duman
Review by O 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 around the world…
HOLD BACK YOUR TEARS By Raselebeli Khotseng
Review by Rebaone Motsalane
Hailed as one of the best poetry books released in 2010, “Magic” Khotseng has received rave reviews so far.
With that under his belt, I was determined to take a different approach and be as “objective” as possible as I felt that maybe the reviews were too good to be true. A few pages later, my “objective opinion” crumbled, and I joined the praise-singing band!
This book is long overdue and indeed one of the best of the best released in 2010. However his raw emotions and telling poetry like it is really made me question his experiences in life. He writes very well about the sufferings of this world and there is no way one can remain the same after reading these poems.
He points out so many injustices in this world; apartheid, poverty and general sufferings. Every poem that I read made me question my contribution in this world. Am I making a positive change in the lives of others? When he writes about the sufferings of the street kids, one can hope and pray that there is immediate change.
I was glad when I could finally get a very positive poem about one of the apartheid stalwarts and celebrated political icons in the (Free State) province, Mme Winkie Direko. I only wish she could get a copy of this book and realise the positive change she has made in the lives of many. I truly love this poem.
The book is for anyone who enjoys poetry and for those who will be able to hold back their tears as they read about the true suffering that others have endured in their lives. Count your blessings and give thanks to the Lord!
Hailed as one of the best poetry books released in 2010, “Magic” Khotseng has received rave reviews so far.
With that under his belt, I was determined to take a different approach and be as “objective” as possible as I felt that maybe the reviews were too good to be true. A few pages later, my “objective opinion” crumbled, and I joined the praise-singing band!
This book is long overdue and indeed one of the best of the best released in 2010. However his raw emotions and telling poetry like it is really made me question his experiences in life. He writes very well about the sufferings of this world and there is no way one can remain the same after reading these poems.
He points out so many injustices in this world; apartheid, poverty and general sufferings. Every poem that I read made me question my contribution in this world. Am I making a positive change in the lives of others? When he writes about the sufferings of the street kids, one can hope and pray that there is immediate change.
I was glad when I could finally get a very positive poem about one of the apartheid stalwarts and celebrated political icons in the (Free State) province, Mme Winkie Direko. I only wish she could get a copy of this book and realise the positive change she has made in the lives of many. I truly love this poem.
The book is for anyone who enjoys poetry and for those who will be able to hold back their tears as they read about the true suffering that others have endured in their lives. Count your blessings and give thanks to the Lord!
A VOICE FROM MANGAUNG By Lebohang Thaisi
Review by OUPA TSHABALALA
(above) Poet Lebohang Thaisi
The first thing that strikes the reader of this book, A Voice from Mangaung is that Thaisi has put together a collection of quite simple, readable poems. They are moving, they deal with feelings and they are narrative and lyrical; eg
“When I was but a child
Mama dragged me behind her to school
With tears mixed with saliva and mucus
Mama said “you must go to school today”
I am grateful today… (for) I can read and write”
(*To My old School)
In Thank You Thaisi betrays an uncertainty and lack of confidence typical of a very young writer/poet:
“I’m not a poet (yet)
but I love poetry
I am not a poet
But I love playing with words
I enjoy the rhythm and vibrations
Thank you for reading my scribble”
Again, in TO A BROTHER:
“Whenever I pick up a piece of paper
I fear but for a minute
Of who shall read
My little piece of work…”
Not surprisingly as a young poet, Thaisi also writes sentimentally about love:
“Have I told you how I love
Your perfume
The aroma… sprinkles new life
When you are not present
At times, vividly
I feel the sweet odour of your perfume…
Patiently I wait
For your return, Love”
(*I LOVE YOUR PERFUME)
And the frustrations of unrequited love:
“I propose love
She enquires after my bank account
She asks: if dad drives Volvo
It is a shame I possess no accounts
Dad… cycles to work”
(*MONEY)
This note of despair sometimes creeps into Thaisi’s poetry’ especially in DOORMAT:
“Trample on me
Smudge my fibres
Rub (your) dirty boots on me
Even the little ones
Piss over me
I am a doormat
Over me
They come and go”
Many observers would feel that difficult or “pretentious” poetry might come across as tedious and boring to the ordinary reader I feel the poetry of Thaisi has more relevance to the common man. We easily relate too simple, pragmatic and down to earth poetry. In this wise Thaisi has to be praised. Again his poem, “To our BBT” shows how important it is for one to relate to, and identify with something:
“BBT with us you Relate
Your DJs we know
Their accent we understand”
Or his moving tribute to MOTHER:
“For giving me Mother
Lord I praise You
When I tried my first steps
She was here
When I developed my milk teeth
She adoringly nursed me
She was also there
When I first walked to school
When I have Mother
I have everything”
Flaxman Qooppane says that he was inspired to write poetry after reading Mongane Wally Serote’s early books, because they were easy to understand. This writer, and others, finds Thaisi’s poetry an inspiration.
THE GUILLOTINE By Omoseye Bolaji
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"
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"
Monday, March 21, 2011
INDABA WITH FREE STATE WRITERS By Saint George Vis
Indaba with FS Writers is a very welcome book – and credit must go to the Editor of the work, George Vis for his initiative and hard work. It is another boost to black writing in the Province.
The quality of the interviews is generally quite high, with Kgosietsile Dinthloane showing that he is world class with his brilliant comments on poetry in particular. Anybody who reads what he has to say in this wise would be much richer for it. Charmaine Kolwane also weighs in with some very fine comments too. It is good to see women showing their zeal when it comes to writing.
That is why it is particular disappointing and shocking to read part of what Neo Mvubu has to say. One would have expected that such a young writer who has been fast tracked – she is already published in anthologies, Internet etc – would be positive and grateful. But she whines and complains about not getting enough “support” from so-called established, older writers. Does she even think about someone like Ntate Kgang Motheane who only got published at over 60 years of age? Does Neo realize how privileged and lucky she is? Does she even appreciate being included in this new book whilst someone like Flaxman Qoopane is not there?
In contrast to Neo’s attitude are the very fine comments of both Skietreker (Seape) and Teboho Masakala, both also very young writers who are evidently delighted to be already in the limelight so early. Their interviews show their positive nature and gratitude for already making their way in the literary genre. In fact “Skietreker” is even confident enough to self-publish – showing he does not believe in being spoon-fed all the way. A writer should essentially be used to privacy and should not expect others to do more than encourage them, or perhaps make publishing a bit easier for them. History has thrown up very good writers who had to wait for endless years before breaking into publication.
It would come as a great shock to critics and scholars – and the international world of literature – that O Bolaji is not featured in this book. After all, his name is synonymous with Free State black literature worldwide. But not much should be read into this, as there are many tributes to Bolaji in this new book; also, there are more than enough full-length books and international articles published on Bolaji’s literary works anyway.
Others would also express surprise that writers like Qoopane and Job Mzamo are not interviewed. The simple truth is that in a work like this, not everybody can be included for various reasons. Jane Wilkinson’s classic, Talking with African writers will always be celebrated – yet many great African writers (like Ama Ata Aidoo, Ola Rotimi, John Ruganda and Es’kia Mphahlele) were not included in the book.
Writers focused on in the book are: Thabo Mafike, Neo Mvubu, Kgang Motheane, Mosidi Mohlakela, Kgosietsile Dinthloane, Seleke Botsime, Charmaine Kolwane, Teboho Masakala, “Skietreker (Richard Seape) and Pule Lechesa. The first edition of the book I saw had some mistakes but I understand they have now been corrected.
On the whole, this new book, Indaba with Free State Writers is a fine work that celebrates Free State black Writing and shows why writing from this area is admired by many. More importantly, with so many young writers featured it is clear that the literary future of the Province is in good hands!
The quality of the interviews is generally quite high, with Kgosietsile Dinthloane showing that he is world class with his brilliant comments on poetry in particular. Anybody who reads what he has to say in this wise would be much richer for it. Charmaine Kolwane also weighs in with some very fine comments too. It is good to see women showing their zeal when it comes to writing.
That is why it is particular disappointing and shocking to read part of what Neo Mvubu has to say. One would have expected that such a young writer who has been fast tracked – she is already published in anthologies, Internet etc – would be positive and grateful. But she whines and complains about not getting enough “support” from so-called established, older writers. Does she even think about someone like Ntate Kgang Motheane who only got published at over 60 years of age? Does Neo realize how privileged and lucky she is? Does she even appreciate being included in this new book whilst someone like Flaxman Qoopane is not there?
In contrast to Neo’s attitude are the very fine comments of both Skietreker (Seape) and Teboho Masakala, both also very young writers who are evidently delighted to be already in the limelight so early. Their interviews show their positive nature and gratitude for already making their way in the literary genre. In fact “Skietreker” is even confident enough to self-publish – showing he does not believe in being spoon-fed all the way. A writer should essentially be used to privacy and should not expect others to do more than encourage them, or perhaps make publishing a bit easier for them. History has thrown up very good writers who had to wait for endless years before breaking into publication.
It would come as a great shock to critics and scholars – and the international world of literature – that O Bolaji is not featured in this book. After all, his name is synonymous with Free State black literature worldwide. But not much should be read into this, as there are many tributes to Bolaji in this new book; also, there are more than enough full-length books and international articles published on Bolaji’s literary works anyway.
Others would also express surprise that writers like Qoopane and Job Mzamo are not interviewed. The simple truth is that in a work like this, not everybody can be included for various reasons. Jane Wilkinson’s classic, Talking with African writers will always be celebrated – yet many great African writers (like Ama Ata Aidoo, Ola Rotimi, John Ruganda and Es’kia Mphahlele) were not included in the book.
Writers focused on in the book are: Thabo Mafike, Neo Mvubu, Kgang Motheane, Mosidi Mohlakela, Kgosietsile Dinthloane, Seleke Botsime, Charmaine Kolwane, Teboho Masakala, “Skietreker (Richard Seape) and Pule Lechesa. The first edition of the book I saw had some mistakes but I understand they have now been corrected.
On the whole, this new book, Indaba with Free State Writers is a fine work that celebrates Free State black Writing and shows why writing from this area is admired by many. More importantly, with so many young writers featured it is clear that the literary future of the Province is in good hands!
CITY OF ROSES AND LITERARY ICONS By Flaxman Qoopane
Review by P Lechesa
Flaxman Qoopane, a journalist, poet and author, has published his latest book titled City of Roses and Literary icons.
He said: “In this new book, I debunk the general belief in many quarters that the Free State, Bloemfontein, in particular, is something of an outpost as regards major, pivotal trends in literature.
“I demonstrably show in the book that Bloemfontein, over the years has hosted a conglomeration of distinguished wordsmiths, and even taken the lead in orchestrating cardinal literary meets,”
According to the author, in the book, we get to learn the details of such literary occasions that got off the ground in the “City of Roses” (Bloemfontein); the galaxy of such literary icons who have graced its shores – including Kgotso Maphalla, Don Mattera, Lauretta Ngcobo, Jim Mokoena, Prof Lewis Nkosi, Prof Keorapetse Kgositsile, Don Matterra, among many others.
“The new book also proudly details the goings-on at the 2006 South African literary Awards which were held in Bloemfontein,” Qoopane said. “At this occasion very important literary awards were given to many of the all-time greats of South African literature. It was also at the gala that Prof Kgositsile was named the current National Poet Laureate.”
This is a book to be read by all lovers of literature and the arts and culture in general. The Free State Provincial libraries immediately ordered some one hundred copies of the book.
“Qoopane indeed shows his effulgent love for writing and writers in general. He puts together many unforgettable occasions of literary orientation hosted in Bloemfontein; this book gives the lie to the belief of so many that the Free State is something of a literary backwater,” O Bolaji, distinguished author, said.
Flaxman Qoopane, a journalist, poet and author, has published his latest book titled City of Roses and Literary icons.
He said: “In this new book, I debunk the general belief in many quarters that the Free State, Bloemfontein, in particular, is something of an outpost as regards major, pivotal trends in literature.
“I demonstrably show in the book that Bloemfontein, over the years has hosted a conglomeration of distinguished wordsmiths, and even taken the lead in orchestrating cardinal literary meets,”
According to the author, in the book, we get to learn the details of such literary occasions that got off the ground in the “City of Roses” (Bloemfontein); the galaxy of such literary icons who have graced its shores – including Kgotso Maphalla, Don Mattera, Lauretta Ngcobo, Jim Mokoena, Prof Lewis Nkosi, Prof Keorapetse Kgositsile, Don Matterra, among many others.
“The new book also proudly details the goings-on at the 2006 South African literary Awards which were held in Bloemfontein,” Qoopane said. “At this occasion very important literary awards were given to many of the all-time greats of South African literature. It was also at the gala that Prof Kgositsile was named the current National Poet Laureate.”
This is a book to be read by all lovers of literature and the arts and culture in general. The Free State Provincial libraries immediately ordered some one hundred copies of the book.
“Qoopane indeed shows his effulgent love for writing and writers in general. He puts together many unforgettable occasions of literary orientation hosted in Bloemfontein; this book gives the lie to the belief of so many that the Free State is something of a literary backwater,” O Bolaji, distinguished author, said.
TEBOGO AND THE EPITHALAMION By Omoseye Bolaji
Review by Paul Lothane
Folksiness is often defined as a combination of being informal, affable and friendly; a characteristic of “simple country life”. Most would agree that this is something traditionally associated largely with black African people concentrated in certain areas, be it townships, towns, or even cities.
Hence we are used to expressions like “he’s my brother” “my brother from another woman” “my sister” etc being used for people who are in fact just acquaintances or even strangers. Folksiness, I hope to argue briefly here, is very much evident in Omoseye Bolaji’s work of fiction, Tebogo and the epithalamion (2009)
The action takes place in a small town where people are very much affable and “folksy” – from the very beginning, even Tebogo himself - a stranger here, is made to feel very welcome. In the first chapter Biggie goes out of his way to come to him, talk to him, and assumes Tebogo would sit down with him and talk. Tebogo is compliant and notes:
“I suppose that’s the beauty of we black folks – we don’t consider such things as an ‘imposition’. Rather I was a bit flattered…”
A bit later on Biggie invites Tebogo to the special ceremony:
“…there are some things you get to know through the locals. For example I am going to a special occasion now and I assure you (that) if you go with me you won’t regret it...the epithalamion.”
“The what?”
Biggie grinned. “I suppose that’s the ‘white’ word that comes closest to describing it…we have special singers that churn out these songs in honour of the bride. In our Sesotho language!”
(pages 8 – 9)
But Neo, the bride to be disappears and Tebogo is easily persuaded to help with investigations. He is invited to Mike’s house where of course he’s given “snacks…cakes and juice”. Then we follow Tebogo as he goes on to talk to “suspects”, or other characters, like Aaron, Seleke Chico, and Rose.
Aaron in fact is initially hostile – with some good reason, as Tebogo directly puts him (Aaron) on the defensive. The initial ambience is that of anger and indignation:
There was a deafening silence but only for a short while, as (Aaron) said: “What’s this rubbish about? Haven’t the police harassed me enough? Who cares if that tart disappears? What’s this for (expletive) sake!”
Yet a few minutes later the same Aaron becomes very affable and loquacious:
Aaron said (to Tebogo); “Pally, sit down and have a glass of drink…” (which Tebogo does, as they go on to talk)
(Page 27)
Chico, who comes across as tough as teak and not a man prone to being friendly, plays the perfect host when Tebogo inadvertently “visits” him at the farm:
Chico stared at me. Here was a strong man! On the few occasions we had met we had hardly talked, but now he was in an expansive mood. ‘Friend” he said to me “We never (really) got acquainted. In our neck of the woods here you can’t just walk past. You must have a tot of this stuff (alcohol)”
(Page 37)
The lady, Rose who has a baby for Seleke, the man who was about to wed Neo, is also entitled to feel cheated but when Tebogo, a complete stranger calls on her uninvited she is as welcoming as anybody can be under the circumstances. In fact she is sedately relaxing and drinking Coke with her sister when Tebogo enters her salon:
With old world courtesy both ladies stood up and ‘begged’ me to sit down. “Pls sir I’m Rose” the more slender one of the ladies said. “This is my sister, my older sister, ausi Maki…”
(Page 42)
Of course if one wants to be hypercritical here, one might argue that it was only logical that Rose would have offered Tebogo some Coke to drink (which she does not). Whether this is due to slack writing by the author is neither here nor there, though.
The important thing is how a chord of folksiness on the part of the people runs through this work. There is a strong, unforced feeling of camaraderie and bonhomie – in part also typified by the many jokes, smiles and grins – in Tebogo and the epithalamion. A feel good factor is reinforced despite the mystery involved; and it is almost as if we black Africans are reclaiming our heritage in the new Millennium.
ROOTED FROM THE HEART By Nthabiseng "Jah Rose" Jafta
Review by Pule Lechesa
(Above) The highly talented "Jah Rose" Jafta
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 of 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 comes across a definitely 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.
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