She quit after three years, feeling herself direly unsuited for the job, and found work as a journalist instead. Postcolonial Green: Environmental Politics and World Narratives. Research in African Literatures, summer 1999, James M. But the work overcomes these weaknesses to stand as a clearsighted snapshot of people trying to pursue their lives within a system that seeks to deny their existence. The clash between Setswana tradition and colonial progress imbues the stories with complexity.
Life, adapted by Ivan Vladislaviac, illustrated by Renee Koch, Viva Johannesburg, South Africa , 1993. Moleka no longer needs Maru as his shadow. After 1964, she lived in exile in Botswana. She had no income other than a small allowance provided by the and without a passport she was unable to seek employment opportunities elsewhere. Short Stories The Collector of Treasures and Other Botswana Village Tales.
Head was the daughter of a white woman and black man. Charlottesville: University of Virginia Press, 1996. Feminists, including Femi Ojo-Ade, have been attracted by the female protagonist of A Question of Power and the nature of the battle she wages. He confronts Moleka, starting an argument smacking of a lovers' quarrel. Education: Umbilo Road High School.
By marrying a Masarwa woman, he has lost the esteem of his people. He has become a new man; the old womanizing Moleka is gone, replaced by a new Moleka who loves only Margaret Cadmore. The most obvious source is the sphere of political power and authority; it is clear that if the political institutions which decree and regulate the lives of the society are reformed or abolished a better or new society can be established. After sinking into a coma, she died in April of 1986 at the age of 48. Her health declined, and she contracted hepatitis. In 1963, she moved to Port Elizabeth with her husband, where he was to work as the first Black reporter for the Evening Post.
But in a world where all ordinary people are insisting on their rights, it is inevitable. And while her contemporaries were producing searing indictments of apartheid South Africa, Head turned to local sources for inspiration and recorded in stories of parable-like intensity the daily lives of people in a remote African village. While recognizing the lack of access to education for native Africans, Head claimed to be freed of such oppression by the missionaries who raised her. Feminist Writers, 1st edition, St. The Heinemann Book Of South African Short Stories. In Botswana, Head wrote a short novel, When Rain Clouds Gather followed by Maru, a novel that dealt with the oppression against the Masarwa people.
The Cardinals, with Meditations and Short Stories, David Philip , 1993, Heinemann, 1996. Sheila Rowbotham 1943— : British feminist and writer who argues that socialist feminism is necessary because women are oppressed by economic as well as by cultural forces. Teacher in primary schools in South Africa, 1956-59; Golden City Post Capetown, South Africa, journalist; Drum Publications, Johannesburg, South Africa, journalist, 1960-62; represented Botswana at international writers conference at Uni-versity of , 1977-78, and in , 1980; contributor to periodicals, including Presence Africane, New African, London Times, and Transition. Indeed, from his experience with Margaret, Moleka gains not just love but the ability to love at various levels. Research in African Literatures, 42:2 Summer 2011 105-124. Collector of Treasures and Other Botswana Village Stories a collection of 13 short stories concerning human treasures. Trenton: Africa World Press, 1990.
Why does Maru marry Margaret? Moleka's body language leads us to believe that he converses symbolically with the scorpion upon first entering the room. Works in Critical Context Critics have analyzed Head's novels in terms of their thematic concerns and their thematic progression. She has only to open her mouth to cause confusion, for her education and English accent do not fit her looks. Maru is the story of racism being overcome in this way, at an individual level, related symbolically by a quartet of characters: the men, Moleka and Maru, and the women, Margaret and Dikeledi. In their care, she was educated as a child and given access to large libraries. As they breathed in the fresh, clear air their humanity awakened.
Her candid writing voiced her strong concerns about racism, economic stagnation, and the status of women in her adopted country. Like Maru, Margaret has been an outcast. How does one explain this paradox in Head's description? But as Maru finds out, Margaret has not replaced Maru as Moleka's heart, but given Moleka a heart of his own. Contributor to Deep Cuts: Graphic Adaptations of Stories, Maskew Miller Longman , South Africa , 1993; contributor to periodicals, including London Times, Presence Africaine, New African, and Transition. World Literature Today, autumn 1994, p. That is why South Africa has no great writer: no one can create harmony out of cheap discord. The Botswana government finally granted Head citizenship in 1979, which allowed her to travel overseas.
In Head's exploration of oppressed people, especially women and those in exile, Ibrahim finds startling insights into institutional power relations. Periodicals Publishers Weekly, October 12, 1990, p. No colonial power ever intended planning for black majority populations. The story represents a corrosive attack on patriarchy as well as a triumphant celebration of the healing powers of community and neighborliness and the resilience of women. Institutionalized racism will no longer be tolerated. Together they are more whole than they would be apart.