TEBOHO MASAKALA: His new book, RED

RICCI NIEKERK-GROENEWALD UNVEILS HER “BLOODY”, RIVETING POETRY

By Tiisetso M Thiba

The sun shone enchantingly, bright like a diamond – which was in consonance with the venue of this pertinent book launch, Kimberley the diamond city! And a memorable book launch it was. 

The occasion co-incided with ‘Woman’s Day in South Africa” (August 9), as bard Ricci Niekerk-Groenewald launched her first poetry book at the teeming Mayibuye Centre. 

“Things Unsaid” is the name of the Ricci’s debut poetry book. During her speech she vouchsafed that the book is very close to her heart because all the poems in the book constitute “things I never told anyone, and I feel that it would be good to share my stories, experience, feelings in poems’ form with the world at large.”

Indeed in her book, laced with imagery, she writes about sundry topics like happiness, love, sorrows, and nature and all the things that inspire her to write and write more.

Ricci also told the book launch attendees that her book is one that many can relate to; hopefully instigating all ladies to read and read more to broaden their knowledge of what is happening around them and afar. She was full of bliss and felt blessed to finally launch her book that she disclosed she actually wrote almost a decade ago.

Sandy (Sass) Schultz said about the book (Things Unsaid): “It seems to be written in blood, raw and red, like the crimson that stains this sleeve. These pages cradle cries that echo from a wounded heart and speak to our understanding of human hurt”.

The day was celebrated in style and woman in poetry came together to support one of their fellow poets. Poetesses like Ntombi Kayise, Lynthia, Siza Nkosi and Nosipho recited their poems based on women’s experiences and articulations; many felt that it was a proper day to acknowledge the vital role of women in the various societies and household. It divulged that women can do many things on their own.

Gontsewa Chaane was the innovative master of ceremony. Among other artists that were present at the “Things Unsaid” launch, included the illustrious Sabata Mpho Mokae (with the author, above), Maruping Phepheng, Moses Nzama Khaizen Mtileni and Siza Nkosi.

The book ‘Things Unsaid” was published under The Ink Sword Publishing Company based in Kimberley.  Ricky Groenewald, one of the co-founders of Ink Sword expressed his gratitude to everyone who attended the book launch, and inspired everyone to read and write because “you can’t write if you can’t read”.

He also revealed that the goal of Ink Sword is to publish many writers writing in different languages in South Africa, and the entire World. Ricky added that “Things Unsaid Book” is one of the twelve books that the Ink Sword has published since its inception almost two years ago. 

Mathene Mahanke examines the book, FREE STATE OF MIND

By Mathene Mahanke

As a literary critic, when one is confronted with a fresh publication of the calibre of ‘Free State of Mind’ from the pens of three women of a reputable pedigree - Nthabiseng Jah Rose Jafta, Rita Chihawa and Lebo Leisa - with the introduction written by a fascinating poetess, and the foreword by a literary giant, one gets intimidated....

One gets intimidated when Napo Masheane says “There is something powerful when women voices come together like a spider web. Because once the spider’s web has begun to weave its base... God, the universe and our ancestors send a thread. There is something magical, almost unbelievable when hands of women find words between their fingers...” Programme Director, ladies and gentlemen, one gets intimidated when O Bolaji says, “These are powerful female voices and bards who have a lot to say, encapsulating and ventilating their experience in a manner we must all learn from. Hearken them!” .... It’s intimidating...

Thank you, Programme Director, ladies and gentlemen. May I express my gratitude for being afforded the opportunity to be one of the first people to express an opinion on the freshly ground work of the three ladies who have birthed an addition to the literary family of the Free State province. I am humbled to stand in front of the audience of this magnitude and say words that cannot be compared to the voice of reason in the book, Free State Of Mind. Thank you, Nthabiseng. Enkosi Rita. Ke a leboha, Lebo.

As a literary critic, I am always guided by the literary theories so as to contextualize my appraisal. I must confess, after glossing through the book... which was handed to me only yesterday.... I could not immediately think of any particular theory. Because it is a book written by women one would be tempted to rush for the feminist approach. But one immediately thinks, is it not demeaning to say these are women, and they should think like women. Are we not retracing our steps that led to the emergence of the very theory to the exclusion of other aspects?

I would rather look at it from the perspective of a Womanist literary theory. This is a term used by Alice Walker to describe a theory that looks at the perspectives and experiences of a black woman. Reading through this book one is confronted with strong words that, at times, suggest anger..., but, in the introduction Napo says, “I think the day the world stops to box ‘the black women writings’, or label it as angry ... more women will write and be in a ‘Free State Of Expression.’ ... To ensure that any writing by women take it’s deserved place in the literature of South Africa and the world I think we should heed Napo’s call.

In the light of the above, I would, therefore, locate the writings of our three authors in a free state of mind, without undue conformity to any particular set of rules. I would also encourage whoever ventures a review of their work to be careful not to apply a single theory to the exclusion of others. Let me make an example of how any literary theory could be deployed to unearth the treasures hidden behind the words and phrases put together by Nthabiseng, Rita and Lebo.

Russian Formalism would address the literariness in each poem where we see beautiful metaphors in the hands of these women-crafters. The opening line reads: I yearn like a coloured butterfly to fluff away in a song In this line we are afforded an opportunity to peep inside the mind and soul of the author, or I’ll say authors as this piece is co-authored, to see with our imaginative eyes the quest to break lose and be free spirited young women... free of all inhibitions and man made impediments.

The words that come out are likened to a song because it will not just be a haphazard junk, but it will be words selected to make an intended impact, and packaged to appeal to the ear of the listener. In the same line the words are likened to a butterfly which gracefully moves from one flower to another.... But, mark this, this is not ordinary, dull butterfly. Like the flowers it visit it also has colour; meaning that it blends well with the flowers... The metaphor can be stretched further: While the butterfly moves from one flower to another we marvel at the beauty produced by the colourfulness of the butterfly and that of the flowers. We are, most of the time, not aware that the butterfly is carrying pollen from one flower to another, cross-pollinating the flowers for reproduction, multiplication and increase... What a beautiful metaphor, right at the beginning...

This is poetry. It comprises of two elements: What the poets want to communicate... and how they communicate it. And like a livewire this trend runs through this book setting every idea alive and brightening every dark corner with a metaphor. The night is short, Mr Programme Director. I would have, otherwise gone on to analyse each and every poem on the basis of the communicative devices that turn words into poetic lines and make these young women artists who, with the formless clay would create a structured work of art. Suffice to say, ladies and gentlemen, poetry is more difficult to write than any other genre because the literariness in poetry means the ability to handle language at different levels while not losing meaning and sense.

As I stated earlier, the work cannot be seen from a Formalist point of view only. A cursory look at the book said to me all theories applied will unearth the formidable nature of the book, Free State of Mind as a work of art. We could look at it from the point of view of the Sociology of literature which is a branch of literature that examines the relationship between the literary works and their social contexts. This would assist to understand how the mind of a young woman perceives the world.... They are poets, but they are human beings also. This is what they say about men: Rita is 'jilted'; and she tell the man where to get off: Because he has the power to crumble my heart into pieces Just like all of these diseases Fatal and harmful I thought that he was cool Little did I know that he would stoop this low? Well, he does not want me anymore!

Lebo is puzzled by men who do not make any move, and does not hesitate to tell them of their unmanly behaviour: Athe banna ba kae, banna ba motseng Banna ba ho ithoka bo? Senyamo se, se mpheta le hoja ke itlhatswitse Ke le dikonkosi Ha ho lekopokopo ho koposela, ke re metsi a pula ho lelemela Tjhe! Le ha ke le mobe ke le ya kgesehang Ha ho ya nthonakang?

 Jah Rose, cautions young women to define limits in love relationships and be wary of men who are only interested in deflowering them. She calls such a man, molemi, one who plants without caring for the garden. Poetically put she says: There are plenty ways to have fun I may even loosen up at times Not with my rose

Thank you.

SILK PURSE INDEED... Oiwona Andrew and his Poetry

By Seun Ajijala

A chartered accountant, Oiwona Andrew, is a stammerer. This is definitely not a trait that anybody wants to flaunt in the public. What with the stigmatisation that those who stutter suffer, especially in the hands of comedians who mock them in wicked jokes.

But for Andrew, a creative person should be able to turn an ugly experience into something meaningful. As a result, his first collection of poems, entitled Heavy Tongue, is built around his experience as a stammerer. The collection of 19 poems is something that really gladdens his heart.

He says, Heavy Tongue is an imagery of someone who stammers. The title was taken from my personal life as someone with a stuttering tongue. This actually happened as a result of heredity. Nobody has control over the circumstances surrounding his birth. Therefore, whatever life throws at one, one can handle confidently with faith.”

Prof. Olusesan Oliyide of the Faculty of Law, Olabisi Onabanjo University, Ago-Iwoye, also in the foreword to the book, notes that the poet has an exceptional talent, saying the gift compensates for his being slow in speech.

Oliyide adds, Heavy Tongue covers and touches several areas like one’s personal experience, women, traffic jam, elegy, nature, apartheid and religion. This makes the targeted audience for the book to be large. The poem, Mandela, is suitable for international journals and worthy of international recognition. In that poem, he dwells on racial discrimination which Mandela fought and won in South Africa.”

The title poem, Heavy Tongue, is a nine-stanza piece that bemoans the inconveniences of being a stammerer. Featuring paradoxical statements, among other devices, the poem paints the picture of the problems a stammerer faces.

The hidden part of her candidly talks about the struggle of an impotent man in intercourse, thoroughly describing the privates of a lady and making use of imagery, rhetoric, similes and metaphors.

Woman’s Chapters describes the phases of a woman’s physical and mental development from adolescence to adulthood. This poem richly employs rhyme, imagery and pun, which make it very humorous.

On the whole, Heavy Tongue is an inspiring collection. However, the image of the tongue on the cover of the book seems unnecessary, as it can affect the maturity of the work. Besides, the description of sexual organs in The Hidden Part appears to be too overt.

·        * Courtesy, PUNCH