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Disa Book.Indb 96 2018-10-23 11:07:13 AM Oswald Pirow’S Ashambeni (1955): a “History” of Dogs, Humans, Werewolves

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Disa Book.Indb 96 2018-10-23 11:07:13 AM Oswald Pirow’S Ashambeni (1955): a “History” of Dogs, Humans, Werewolves Oswald Pirow’s Ashambeni (1955): a “history” of dogs, humans, werewolves Joan-Mari Barendse Joan-Mari Barendse is affiliated with the Department of Afrikaans and Dutch, Stellenbosch University. Email: [email protected] Oswald Pirow’s Ashambeni (1955): a “history” of dogs, hu- mans, werewolves In this paper I explore the human-dog interaction in Oswald Pirow’s Ashambeni (1955). I focus on the position of the dog in Pirow’s depiction of a world where the lives of animals and humans, and the natural and supernatural world, are entangled. In the novel, there are references to real historical figures and particulars of Portuguese East Africa and the South African Lowveld around 1850. The historical context sketched in the novel is from Pirow’s far-right, racist perspective. While most critics place Pirow’s work in the folkloric tradition, Ashambeni is more than a folkloric tale since it promotes Pirow’s offensive views. In Ashambeni the role of the dog ranges from valuable possession to loving companion to hunting and fighting tool. It shows that a dog history cannot be separated from a human history, and that dogs are part of the social and cultural life of humans. The depiction of human-dog interaction in Ashambeni points to a historical anthropocentric entanglement rather than the boundary-crossing entanglement between human and animal proposed by contemporary human- animal studies. The human characters control the dog characters’ status in the human society. Even more problematic, the description of the dogs is tied up with Pirow’s racist ideology and subjective account of history. Keywords: Ashambeni; human-animal studies; human-dog relationships; Oswald Pirow. Introduction In Canis Africanis: A Dog History of Southern Africa, Swart and Van Sittert (1) show that dogs “have been entangled with human society for the past twelve thousand years”. In this paper, I explore this entanglement of dog and human lives by examining the portrayal of the dog in Oswald Pirow’s eponymous Ashambeni (1955). Ashambeni tells the story of Ashambeni, “the wonder hound” of Maska- katsi (7). After the death of Ashambeni’s owner (the outlaw Antonie Buys) and 96 mother, he is found and taken in by Maskakatsi, a young Maluleke chief. Mas- ©Van Schaik Publishers DOI 10.17159/2309-9070/tvl.v.55i3.5502 Tydskrif vir Letterkunde 55.3 (2018) DiSA Book.indb 96 2018-10-23 11:07:13 AM Oswald Pirow’s Ashambeni (1955): a “history” of dogs, humans, werewolves kakatsi and Ashambeni hunt, fight and survive together. One of their survival strategies is for Ashambeni to imitate the sound of the baloyi (a type of werewolf) to scare away their rivals. The novel therefore not only depicts the entanglement of human and animal lives, but also of the natural and the supernatural world. Although literary critics mainly describe Pirow’s works as a documentation of the stories and beliefs of indigenous groups in the folkloric tradition, Ashambeni (as is most of Pirow’s fiction) is set within the context of a rather suspect account of a period in South African history. Pirow’s background and ideological stance, as well as his portrayal of history in his fiction (which will be discussed below), will therefore be taken into account in my discussion of the entanglement of dogs, humans and the supernatural in the book. Oswald Pirow (1890–1959) was born in South Africa to German parents in 1890. He studied law in England, returned to South Africa to practise as an attor- ney, and eventually qualified as an advocate. He was also involved in politics and supported J. B. M. Hertzog’s National Party (Pirow wrote a biography of Hertzog titled James Barry Munnik Hertzog in 1957) and later the Herenigde Nasionale Party (HNP, Reunited National Party). Pirow is notorious for launching the New Order for South Africa, “a movement based on the Nazi ideology of race” (Garson). Garson described Pirow as “an admirer of Hitler” after Pirow met him in 1933, and Pirow acted as “an informal mediator with Hitler” during Pirow’s tour of Europe in 1938 (Garson, also see Bunting 56–7). Although the HNP and the New Order shared some views, the party rejected the New Order’s ideas on national socialism. Pirow was forced to leave the party and his political influence waned (Garson; Bunting 110–1), but he continued to propagate the views of the New Order. In the pamphlet titled Die Witman se Weg na Selfbehoud! (c. 1945, The White Man’s Way to Self-preservation!), for instance, he gives a detailed plan of how to deal with racial issues in South Africa. Part of his plan included separate states for whites and Africans in order “to stop miscegenation and the degenera- tion of European culture” (Pirow, Witman 9, own translation). The following works of fiction in Afrikaans were published by Pirow: Piet Pot- lood (1948), Mlungu Mungoma of Die Blanke Waarsêer (1949, Mlungu Mungoma or The White Soothsayer),Sjangani (1950) and Sikororo (1952). Ashambeni was published in English in 1955. Pirow’s political views are reflected and promoted in his fiction. In the introduction to Sikororo he explains that the purpose of his books is not only to entertain readers but to give them insight into “the Bantu[’s]” outlook on life. He writes: “Thorough and sympathetic knowledge of the Bantu is the first and unavoidable requirement of our guardianship system [referring to the apartheid system of separate development]” (Sikororo 4–5, own transla- tion). Pirow hereby implies that you can only control a group of people if you understand their culture and beliefs. Considering Pirow’s offensive and racist 97 ©Van Schaik Tydskrif vir Letterkunde 55.3 (2018) Publishers DiSA Book.indb 97 2018-10-23 11:07:13 AM Oswald Pirow’s Ashambeni (1955): a “history” of dogs, humans, werewolves ideological stance, it is ironic that he describes his understanding of other races as “sympathetic”. Not much mention is made of Pirow’s fiction in South African literary histories (Bosman 4). Where his work is discussed, it is never tied to his political views and it is almost exclusively placed in the folkloric tradition. In Afrikaanse Lit- eratuurgeskiedenis (Afrikaans Literary History) published in 1966, Dekker (354, 356–7) places Pirow’s work in the section titled “Die nie-blanke in die prosa—Die inboorling” (The non-white in the novel—The native”). Kannemeyer dedicates a sentence to Pirow’s work under the heading of “Dier, inboorling en folklore in die verhaalkuns” (Animal, native and folklore in storytelling) in Geskiedenis van die Afrikaanse Literatuur 1 (History of Afrikaans Literature 1) published in 1978. In Kannemeyer’s (115) Die Afrikaanse Literatuur 1652–2004 (Afrikaans Literature 1652–2004) published in 2005, Pirow is mentioned only as a political figure and no reference is made to his writing. In the 1982 print of Perspektief en Profiel (Per- spective and Profile) the following sentence can be found: “O. Pirow’s spellbinding Sjangani (1950) testifies to more insight into the native soul” (Antonissen 110, own translation). Roos (43) ties Pirow’s work to the folkloric tradition in the 1998 edition of Perspektief en Profiel (Part 1), while in the latest edition of Perspektief en Profiel (2015–2016) no mention is made of him. Bosman (6) also places Pirow’s fiction in the folkloric tradition. According to her, he gives a “careful version of aspects of the history of the Shangaans” and “describe[s] their folklore, beliefs and superstitions in great detail”: “The books teem with ‘figures’ such as thebaloyi (a type of werewolf), the psikwembu (ances- tral spirits) and witch doctors. In this documentation and not in any literary greatness lies the value of his fictional work” (own translation). She believes that Mlungu Mungoma of Die Blanke Waarsêer can furthermore be placed within the tradition of the historical novel because the narrative is set within the context of the Anglo-Boer War. It is common for Pirow though to place his books within a specific historical context. In Ashambeni there are references to real historical figures and particulars of Portuguese East Africa and the South African Lowveld around 1850. According to Pirow, the novel is set in the context of the outcome of the “upheaval caused by Chaka, the Zulu Napoleon”. As discussed later, Pirow’s account of South African history in his fiction is also underpinned by his racist ideology. In his book Savage Delight, Dan Wylie shows that it is common in white writing on Shaka and the Zulu nation to compare “‘the other’ with something or some- one European”: “In particular, the comparison of Shaka to other ‘tyrants’—Attila, Napoleon, Alexander, and so on—has become almost a reflex” (23). Wylie argues that this strategy of “associating Shaka with better-documented examples of geno- cide and/or heroism has several effects”: 98 ©Van Schaik Publishers Tydskrif vir Letterkunde 55.3 (2018) DiSA Book.indb 98 2018-10-23 11:07:14 AM Oswald Pirow’s Ashambeni (1955): a “history” of dogs, humans, werewolves First, it reproduces or reinforces the prejudice of preceding comparisons; one familiar myth underwrites a new one. Secondly, it obscures rather than illumi- nates the cultural specifics of Shaka’s reign. And thirdly, by proxy and proximity, it distorts or exaggerates the extent of Shaka’s conquests and depredations. Shaka could not possibly have conquered as much territory as Napoleon did, or mur- dered as many people as Hitler or Stalin. (Wylie 26–7) In his foreword to Ashambeni Pirow clearly plays into this mythology. He sketches the historical background of the book as follows: After an inauspicious start, when he [Chaka] had a number of setbacks, this black dictator built up an army of many tens of thousands of the most merciless and most fearless warriors known to history.
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