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Inside the House of Truth: the Construction, Destruction and Reconstruction of Can Themba

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Inside the House of Truth: the Construction, Destruction and Reconstruction of Can Themba INSIDE THE HOUSE OF TRUTH: THE CONSTRUCTION, DESTRUCTION AND RECONSTRUCTION OF CAN THEMBA SIPHIWO MAHALA submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject ENGLISH LITERATURE at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROF. MICHAEL KGOMOTSO MASEMOLA NOVEMBER 2017 i DECLARATION Student number: 55739458 I, Siphiwo McGlory Mahala, declare that this this thesis – Inside the House of Truth: The Construction, Destruction and Reconstruction of Can Themba, is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. _____________________ November 2017 Signature ii ABSTRACT This study is, by its intention at any rate, an attempt at assembling the scattered fragments of Can Themba’s life to make a composite being out of the various existing phenomena that shaped the contours of his life in both literary and literal senses. Given the disjunctive manner in which Can Themba and his work have been represented thus far, a combination of Historical and Biographical research methods will underpin the approach of this study. The resultant approach is the Historical-Biographical method of research. According to Guerin et al (2005, 22) the Historical-Biographical approach “sees the work chiefly, if not exclusively, as the reflection of author’s life and times or the life and times of the characters in the work.” This research is premised on the conviction that an individual is a constellation of multiple factors that play a pivotal role in the construction of their persona. These factors will be traced from his family background, early schooling, tertiary education, socio-economic conditions as well as his contribution to various newspapers and journals. While so much has been written about Themba and his work, there is no comprehensive biography of Can Themba as a person. Most importantly, the factors that contributed to his making as well as his breaking, or destruction, have not been interrogated in a form of comprehensive academic research. Rightly or wrongly, Themba’s meteoric rise into the South African literary canon is often traced from the moment he won the inaugural Drum Magazine short story competition. Themba became one of the most popular journalists and rose within the ranks of Drum to become the Assistant Editor. However, my research demonstrates that winning the Drum short story competition was the culmination of a literary talent that was developed and had been simmering for a number of years. Themba studied at the University of Fort Hare between 1945 and 1951 alongside the likes of Dennis Brutus, Ntsu Mokhehle, Robert Mangaliso Sobukwe, Mangosuthu Buthelezi, and many other prominent individuals. He was a regular contributor to The Fortharian, a university publication that published opinion pieces, poems and short stories. This is a vital component of Themba’s intellectual growth and it remains the least explored aspect of his life. As a result, what has been discursively documented by various scholars, writers and journalists, thus far, is a very parochial representation of Can Themba’s oeuvre. iii DEDICATION In memory of Prof. Mbulelo Mzamane whose light still shines my path. iv ACKNOWLEDGEMENTS This study would not have been possible without the generous financial assistance that I received from the National Institute for the Humanities and Social Sciences (NIHSS), which carried me throughout the period of three years. I would like to acknowledge individuals who either inspired me in my scholastic endeavours or contributed directly to this study. I was fortunate to work closely with the late Keorapetse Kgositsile and interact with Es’kia Mphahlele and Lewis Nkosi, Themba’s contemporaries who shared invaluable insights about him in our casual conversations. It was only after the passing of Nkosi in 2010, that I took the decision to document the life story of Themba for posterity. I unreservedly acknowledge legendary writer-turned-filmmaker, Mtutuzeli Matshoba, who assisted with the recording of my conversations with some of the people who knew Themba. Matshoba brought on board a distinguished film crew including Wiseman Mabusela, Lawrence Lerato Lichaba, Mpho Ramathuthu, Michael Moagi Matsie and Paul Zisiwe. It was in June 2013, after the Can Themba Memorial lecture, that my mentor and former Vice Chancellor at the University of Fort Hare, Mbulelo Mzamane, advised that I register for a doctoral degree and take Can Themba as my subject. Mzamane had consistently been reminding me about the importance of pursuing doctoral studies for about ten years. When I finally registered for my doctoral studies in 2014, I had already interviewed a number of prominent people, and altogether, I interviewed the following people: Njabulo S, Ndebele, Keorapetse Kgositsile, Nadine Gordimer, Don Mattera, Mothobi Mutloatse, Joe Thloloe, Anne Themba, Juby Mayet, Lucas Ledwaba, Mbulelo Mzamane, Peter Magubane, Mangosuthu Buthelezi, Sol Rachilo, Ahmed Kathrada, Parks Mangena and Simon Maziya. All these interviews contributed enormously to the project. Some of the interviewees including Mbulelo Mzamane, Nadine Gordimer, Anne Themba and Ahmed Kathrada, have since passed on. We have made an effort to transcribe the majority of interviews conducted and the transcripts are attached herewith as Appendix A. Unfortunately in some cases, parts of the footage were damaged, or as in the case of the interview with Lucas Ledwaba, the entire footage got lost and could not be retrieved. This research would not have been possible without the support of Can Themba’s daughters, Morongwa and Yvonne Themba, who graciously gave me access to family documents. These include granting me permission to peruse their father’s student records at the University of Fort Hare. On the same note, I must thank the former Vice Chancellor of the University of Fort v Hare, Dr Mvuyo Tom, and his successor, Prof Sakhela Buhlungu, as well as their staff for their cooperation and assistance during my research. Here I would like to make specific mention of Ms Zintle Mzayiya from the National Heritage and Cultural Studies Centre (NAHECS), who went beyond the call of duty to ensure that I had access to archival material. Can Themba’s trials and tribulations over his teaching qualifications is a matter that was unknown in the public domain until I got access to his student records as kept in the archives of the University. I would like to extend a special word of gratitude to the National English Literary Museum (NELM), especially their Research Curator, Andrew Martin, who has been there for me from the beginning of my research. I am indebted to the Department of English Studies at UNISA, for accepting my proposal and affording me an opportunity to pursue doctoral studies on the life of Can Themba. I am particularly grateful to Prof Michael Kgomotso Masemola, who guided me through the process. Thank you Prof Masemola for reminding me that academic writing is a scientific endeavour. I thank my family for their unyielding support and patience while I was pursuing my doctoral studies. I could not be the husband that I wanted to be to my wife, Miliswa, nor was I able to be the father that I ought to be to our three daughters, Mihlali, Qhama and Kuhle, but they remained supportive of my academic endeavours throughout this period. Thank you for supporting my ambitions. And thank you for loving me. The completion of this degree is the manifestation of my parent’s most fervent ambition. My mother, Nomsokolo Reginah Clay, who passed away in 1986, wanted her children to obtain the level of education that she could not achieve. Conversely, my father, Norton Mahala, who passed away in March 1997, valued education especially because he never got the opportunity to study. His last words to me, “ufunde, ungabinaxhala” (study, have no fear), have been a source of inspiration throughout my studies. Lastly, I am grateful for the phenomenal life of Can Themba, which inspired this study. Although he died fifty years ago, he continues to inspire more writers and readers with the timelessness of his works. This study will hopefully make significant contribution to the long journey of rediscovering and immortalising Can Themba. vi TABLE OF CONTENTS Chapter One: Dominant Themes and Perspectives on Can Themba 1.1 Introduction 1 1.2 Retracing the Contours of Can Themba’s Trail 4 1.3 Literature Review 12 1.4 Theoretical Framework 17 1.5 Rationale 20 1.6 Methodology 22 1.7 Chapter Breakdown 22 Chapter Two: Intertextuality and the Evocations of Shakespeare in Can Themba’s Works 2.2 Introduction 27 2.3 Themes and Idioms in Can Themba’s Early Writings 34 2.3 Can Themba’s Exploration of Shakespeare’s Politics of Difference 37 2.4 Intertextual Resonances and Allusions to other Seminal Texts 43 2.5 Domesticating Shakespearean Imagery 48 Chapter Three: A Politico in a Poet: The paradox of Politics and Poetics in can Themba’s Writings 3.1 Introduction 55 3.2 Navigating the Political Landscape 60 3.3 Drum Magazine and Black Writers’ Revolution 65 3.4 Reflections on Can Themba’s Political Imagery 76 Chapter Four: Can Themba’s Identity Ethos: A Black Englishman or Detribalised Africa? 4.1 Introduction 89 4.2 The Discursive Paradigms of Tribal Discourse 96 4.3 The Quest for Shared Identities 104 vii Chapter Five: The Supreme Intellectual Tsotsi: The Complexity of Can Themba’s Social and Intellectual Disposition 5.1 Introduction 118 5.2 The Dynamics of the Cult of a Tsotsi 124 5.3 The Shebeen
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