u t u t j 'V Volume 10 Number 2,1992 ISSN 0258-7211 R6,95 (INCL. VAT) Stories Poetry Essays Reviews N 0 0 0 Ur__ N,, LA Nadine Gordimer: The Nober Prize Lecture Thengani Ngwenya: The Poetry of Mafika Gwala Mark Beittel: Dugmore Boetie and S.A. Literature Phaswane Mpe: Literacy and People's Language Q3 C1P r1: dkf(:O Contents M Comment.... A.W.Oliphant Stories =An Owl on the Rooftop Linda Colleen Saunders =Makoti Makhanda Senzangakhona =The Rod Richard J. Mann =SBs Jiggs M Flags, Medals and Anthems Gavin Mabie Essays M- Writing and Being Nadine Gordimer ='Literary Language' and the 'Language of the People' in Contemporary SA English Poetry Phaswane Mpe = ThePoetryofMafikaGwala Thengani H. Ngwenya =Dugmore Boetie and South African Literature Mark Beittel Poetry M Two Poems Ntombintombi Mabika =Two Poems Abner Nyamende =Deep Sea Burning Mpho Nawa STwo Poems Ntombintombi Mabika =Khutsana R.E. Moloke =His Excellency the Ambassador of the State of Palestine Keith Gottschalk =Tunnel Vision George Candy =Offers Phil du Plessis =Spirits Sue Mathieson =Child of Africa Linda Colleen Saunders =Two Poems Robert Siwangaza =Two Poems Annemari van Niekerk =Group Areas Ebrahim Alexander MThree Poems Lisa Crombrink = B.H. Eli Coelho MNamibian Nites Carsten Knoch Three Poems Deela Khan M Changes Moharned Patel =By Strandfontein Leonard Koza MOn Graduating Mohamned Patel r Three Poems Leonard Koza E Three Poems B.M.C. Kayira Ec~m Volume 10 Number 2 1992 =Grand Parade Carol Edson MTranslations of Two Poems by Jean-Joseph Rabearivelo Stephen Gray Three Poems Carol Edson =Workers' Day (May Day 1992) Morakabe Seakhoa =Excitement Ntombintonbi Mabika M Ba a Ntena, Ba a Tella R.E. Moloke Photographs I People in Creativity and Culture Andrew Bannister SWork from the Photo Lab Paintings and Graphics = Landscape Karen Harber =Demoiselles de Codesa Vincent Baloyi = Lovers Vincent Baloyi =On the Day of the Festival Nhlanla Xaba =Untitled 2 Sylvester Khosa =Germiston Sheds Thomas Nkuna =Landscape with Silos Walter Meyer =Springbok Safari IV Karen Harber =Untitled 3 Sylvester Khosa Report = COSAW Monthly Debate Series STAFFRIDER EDITORIAL COLLECTIVE General Editor: Andries Walter Oliphant REGIONAL EDITORS AND DISTRIBUTORS Transvaal: Lance Nawa, Steve Kromberg, Frank Meintjies Natal: Ari Sitas, Pearl Jean Gorrie, Jabu Mkhize Western Cape: Hein Willemse, Mario Pissarra, Donald Parenzee, Anette Horn Free State: Cingani Phaku, Patrick Nyezi, Grant Tsimatsima Eastern Cape: Susie Mabie, Michael Barry EDITORIAL ADVISORS: Njabulo Ndebele, Nadine Gordimer, Mongane Serote, Kelwyn Sole, Paul Weinberg, Gary Rathbone, Achmat Dangor, Christopher van Wyk, Gcina Mhlophe, David Koloane, Nise Malange, Luli Callinicos. Typesetting and Layout: Shereen Usdin Illustrator and Artist: Andrew Lord Marketing and Distribution: Matthew Krouse Sta ffider is published by the Congress of South African Writers. P.O. Box 421007, Fordsburg 2033. Copyright is held by the individual contributors of all material, including the visual, photographic and graphic material published in the magazine. Anyone wishing to reproduce material from the magazine should approach the individual contributors c/o the publishers. Contributions and correspondence should be sent to The Editorial Collective Staffrider. P.O. Box 421007 Fordsburg 2033. All contributions should be accompanied by a stamped, self-addressed envelope and a short two-line biography. Printed by: Creda Press Repro by: Industrial Graphics Cover Artwork: Morris La Mantia Dancer Illustrations: Carin Hartmann Comment Globally speaking, we are living in rapidly changing times. Who will contest this? Observers have pointed out that the twentieth century and its preoccupations already belong to the past as the world irresistibly moves towards the next century. Strange as it appears, things seem to turn at the turn of centuries. Home is a case in point: the hurly-burly of social and political changes are superficially registered in newspapers and the electronic based media while the deeper shifts in culture and human sensibilities remain almost completely obscured. Is this due to the fact that the communication media, monopolized by a minority, are fatally oriented towards reassuring sectors of the public that their vested interests, ossified cultural habits and assumptions are not subject to the profound local and global changes? The 'no news is good news' frame of mind, is sadly also a feature of local literature and art. This conservative view vituperously insists that the only things of value are the things which never change. In a world where everything is touched by the ineluctable forces of change this profoundly reactionary view is understandable. It deserves our sympathy. Who would not feel compassion for those who withdraw from the vital process of contemporary life to descend into a hell of mourning the loss of a mythological paradise? Nevermind the fact that the actual loss is the impending end of racial priviledge. Indeed, who would not sympathise with the bereaved? For others, the understanding that human beings constantly create and recreate the world they inhabit by changing it through their decisions, choices, utterances and actions is axiomatic. The recent unfreezing of rigid social systems and related views of the world, the exponents of change assure us, are the direct and indirect results of the ceaseless labour of countless individuals, groups and organizations. It seems block- headed to disagree with this. The outcome of these changes, history however reminds us, will not necessarily be in line with what many hope for. Social change is a contradictory process. It brings with it mixed possibilities for advances and regressions. Little wonder that opportunists of every hue hasten to claim that their beliefs, dogmas and illusions have been, or are soon to be vindicated. The challenge facing writers under any circumstances is to shift the induced boundaries of consciousness and feeling as well as to reassess the meaning and value of past forms of cultural expression. This is the proper domain of creativity. Sacred and secular taboos can only partially frustrate, but never succeed in completely arresting the human procilivity for expanding the horizons of knowledge. The quest for renewal reaches optimal levels when non-conformist, critical and even iconoclastic attitudes towards every form of ideological posturing and pretense are adopted. To reduce the multifarious nature of being to a single theory or a one-sided system of values can only serve to stunt the plenitude of experience. The endless play of desire is driven by the inextinguishable quest for freedom. Within the frame work of otherwise restrictive outlooks the censorious mind flourishes. It breeds, as in this country and elsewhere, the dangerously absurd conviction that ideas could be vanquished by destroying their proponents. This, among other far reaching implications, is spelt out to the world by Nadine Gordimer, the 1991 Noble Literary Laureatte, in her memorable lecture. It displays her profound vision of the role of writers in an age demanding courage in life and skill in art. In her finest hour Gordimer remained true to herself by underscoring the social imperatives of creativity. Her lecture is a flash in the dark to South Africans and the rest of the world. As we begin to undertake the daunting tasks of cultural transformation, it reminds us that alternative visions must steer clear of all forms of prescription and coercion. In the drive to open all cultural institutions for democratic participation and to extend the means of cultural expression we must guard against the preservation of old forms of privilege and exclusivity as well as against the formation of new elites. Through its recently launched monthly debates and research into international and national cultural policies, COSAW intends to play a facilitating role in the democratization of cultural institutions. This will be done by inviting the entire community of artists, regardless of their pasts, to participate in an open-ended process of discussion and debate. This edition of Staffrider offers readers a number of critical essays in which views on language and literature are frankly assessed. The selection of short stories probe past, present and future aspects of individual experiences. A variety of poetic voices speak their dreams, fears, anger and desires while visual artists and photographers provide opportunities of seeing.R Andries Walter Oliphant Staff rider Vol. 10 No. 2 1992 Poetry Ntombintombi Mabika Two Poems Hobos With hope they sit and sing. With hope one day they will enjoy life. They are friendly, trying to hide sorrows. They are not drinkers, If they have nothing to do what then is to be done? 'Hallo sweetie pie,' they greeted me as I pass. Men and women use that way of greeting. 'I came from the South, no work, no money, I came here seven years ago, How can I go back home?' The story is very bad. One was a teacher, One was a manager, One was Mrs so and so. She came here for work. She saw an advert in the newspaper. Sorry the job has been taken. She finished all the money. Sorry I have no money for your transport. She is asking for food, the rubbish bin is there. Sleeping in the rain, Sleeping on the road. Wearing the same thing Worrying about the future. Starting to use drugs. She's too dirty to be a prostitute. She is not suitable for motherhood. Some end up in hospital. Some end up in jail. Shivering, they are in a dilemma. An Opening It is an opening for the truth. An opening to hell. She nearly lost her right ear. Who was shooting? An opening. Renamo, Frelimo and violence, pass through that opening to fight for nothing. A black opening caused by a dark gun. It is an opening to death. The remembrance will be left behind. The shame is written in that black opening in black letters but the black letters are visible even in the black night.