(Covering Vol. 2, Issues 16 & 17)
Dr Flora Veit-Wild at a writers workshop in Harare in 2014
Welcome to 2021! It is appropriate for WIN-ZIM to start 2021 with a double issue, coming out close to the end of the second month of the year. As you can see, there has been a lot to cover, a lot to reflect on, and a lot to look forward to.
It wasn't easy to navigate the roller coaster ride that was 2020, and the uncertainties of last year have continued into the new year, but there is hope as science continues to make inroads into ways of handling the pandemic. This trying season has tested our resilience as humans, and has made us reflect and project, and in some cases, we have found it difficult to see the light at the end of the tunnel, especially because we didn't have a clear picture of what the tunnel looks like. But for artists, especially we poets, writers, playwrights, what has the year meant for our work?
For me, 2020 meant less writing of new projects, but a reflection on past works, as well as some planning for a post-pandemic future of creativity. I found that the present was too illusive, but still there, the present within which my work should find its roots, a present that at times seems too slow, at other times vanishing fast, a present loaded with uncertainty. But hope was always there, hope retained through the idea of community which seemed threated by "social distancing", a terrible term that somehow benefited community.
I have watched with great optimism the proliferation of community through alternative means, means which have become the norm. Platforms like WhatsApp, Zoom, Facebook, YouTube have helped us avoid the damaging effects of the misnamed "social distancing" (if it were up to me, I would settle for 'physical distancing!'). WIN-ZIM, initially just as pandemic-threatened as any organization that thrives on collaborative, in-person initiatives, has found strength (to the extent that strength was possible) in social media. This time has opened up other ways of staying connected, and with this level of connectedness, I have seen resilient writers who have continued to share their works on social media, and especially on our WhatsApp platform. The same writers also show up in other groups, and they participate in intiatives run by other arts promoters. Gourd of Consciousness Poetry comes to mind, so does Chisiya Writers Club, and calls for contributions from newspapers and other media channels in Zimbabwe and beyond.
Believe me when I say that there are signs of growth. As this double-issue shows, we are at a time when the influence and reach of the association is expanding. We have a bigger membership, and we are launching collaborative projects that benefit our writers. The JAC/WIN Scriptwriting Project is one example of what the future holds for us. We are also headed into the direction of disappearing boundaries, as through this pandemic, we have discovered that our connectedness is critical in what we do, and that geographical boundaries are unnecessary obstacles. Through technology such as Zoom, WhatsApp, Facebook Live, and others, our collaboration could go beyond the boundaries of Zimbabwe, of Africa.
I am aware of the connectivity issues that we sometimes experience, and of challenges that may make us prioritize livelihoods over data bundles, but I also urge every artist to consider their art as important as other sources of livelihood. My focus this year as a creative is to educate myself on the business of my art, on understanding monetization, and on connecting with networks that enhance my success in these pursuits. I want to see WIN-ZIM playing this role of empowering its members through projects that help them better their livelihoods. For this to succeed though, the membership has to be invested in their works and in the vision of the association. To use pandemic parlance, "Together we can make it."
Thank you and happy reading! --Emmanuel Sigauke
A TEST OF RESILIENCE AND FAITH
Olivia Christian Paasche, author of The Next of Kin
GRACE AND PEACE to you dear
friends!
I was
invited by WIN to make a commentary on the year 2020. I instinctively exclaimed
‘Lord have mercy! I’ve got to get out of this one somehow! How is it possible
that anyone can make sense of the year 2020, let alone write about it?’
Dear
family, even as I write, the tempest continues - the times in which we live and
the outcome will surely be a test of our resilience and faith.
I once
heard a renown and much loved Catholic priest tell this story:
The penetrating darkness and the tempestuous
howling winds intensified their terror.
All hope was soon lost.
However,
unbeknown to them all, there was a light that shone in the cabin.
A little boy always dreamed of being a
captain of a ship. He had studied everything about ships and had quite a good
understanding about their function as he had taken many cruises with his uncle.
So when
the captain and his crew all got sick the little boy convinced the passengers
to let him go into the crew cabin.
Reluctantly
and too ill and despondent to argue they let him go in. They were going to die
anyway - that’s what they figured out. The boy was taught to believe in Angels.
So he talked to his Guardian Angel and asked for help. As he took the wheel he noticed a lighthouse
in the distance. His heart leaped! He knew he would make it! They would make it!
So he steered the ship in the pitch darkness and got closer to the light.
Suddenly they ran into sand!
They
had reached land!
That
land was the Cape of Good Hope.
When we
find ourselves being tossed to and fro in the ocean of madness the only thing
necessary is to grow closer to the true Light.
The
Light of God.
Writing
from London, once again and with much love- Grace and Peace to you all.
Olivia Paasche
LATEST UPDATE
JAC/WIN SCRIPT WRITING COMPETITION
Winners will be announced on February 26, 2021.
Meanwhile, JAC held an optional Zoom meeting on Monday, 15 February, 2021, at 4pm UK Time (6pm
Zim time) with all writers who
submitted. The meeting was strictly by
invitation only and was an opportunity for JAC to address any questions that
writers might have going forward.
The winners will start working on their projects
from Monday, March 1, 2021, to Monday, May 17, 2021. This gives us 12 weeks,
meeting every Monday at 4pm - 6pm UK Time. There will be individual work
assignments given during these sessions with writers handing in through JAC Workspace
facilities.
Emails will be sent out to the winners and also
for those who were unsuccessful, a full review of their script detailing where improvements
to the script can be made. They will also get information about
useful websites and tools for improving their writing skills. The winners
will get 1:1 feedback and will work to develop their scripts further during the
12 weeks working with the Director of JAC Film School, Jessie Allen.
By Jessie Allen, Director of JAC Film
School
JAC Film School was
created by Jessie Allen towards the end of 2020 as a vessel for teaching story
telling using the language of films and documentaries. The school aims to equip
African creatives with the confidence and skills to find their own voices and
use their experiences to create possibilities for themselves and for the
continent of Africa. JAC
Film School is important and urgent because the need for African expression is
at an all-time high and the space to do this now exists culturally. JAC Film
School believes that through our imagination the image of Africa and Africans
can be greatly enhanced. This mission is bigger than any one writer can ever
hope to accomplish but rather requires a whole army of creatives working
together for this one purpose.
While
JAC Film School is currently working on establishing and growing a relationship
with Zimbabwean writers, the school is also beginning to focus thoughtfully its
efforts on how to expand collaboration with writers’ organisations in other
African countries. This includes planning how to establish formal relationships
with the local and international film and television industries. We are working
hard to try to understand what the process is and who we need to work with and
what the approval levels might be to take the school’s aims to the next level.
This next phase involves creating opportunities for mentorship for the school’s students.
We aim to partner with local film production companies around Africa where they
will possibly mentor and invite our students to learn their craft from a
practitioner perspective.
It is hoped that through mentoring,
coaching, and training in not only technical skills but in life skills, African
lives can be touched and changed forever. This film school aims to impart
self-esteem, confidence, self-efficacy, and a greater will to be
self-sufficient in a world that is as uncertain as it is unequal. JAC Film
School further recognises that nurturing and amplifying underrepresented and
marginalised voices is not just vital to society - it also helps to build a
more diverse, equitable, and vibrant creative landscape. Work is underway to
create an interactive website with relevant content to move this agenda
forward. A conference will be held on 15 February 2021 via the Zoom platform to
update writers on the upcoming activities planned at the school.
LORDWELL MANYIKA’S WONDERFUL LEGACY
By Beaven Tapureta
Lordwell M Manyika (wearing glasses) at the official book launch of ‘Doing The Most Good As A Servant of God In The 21st Century’ (written by Philbert Alexander Jumbe) held in Harare in July 2019
The death of Lordwell M Manyika (67), an accomplished
editor and translator and devoted Christian, on January 6, 2021, came as a
shock to the book and Christian community.
According to The Harare City Corps, an International Christian Fellowship
of the Salvation Army which announced his death on its Facebook page, Manyika collapsed
on January 5 and died the following day.
“On behalf of the Corps Officers, I announce
the promotion to glory of Lordwell Manyika. He collapsed yesterday and passed
away today (6.1.2020). His association with the city corps goes back to the
1980s. He was the flag sergeant, at one time a member of the songster brigade
and an editor of the corps magazine. He worked for the Bible Society and he
will be remembered for the bible donations he made to various institutions
including prisons. May his soul rest in peace,” said the official voice of the Harare
City Corps.
Philbert Alexander Jumbe, a Retired Corps Secretary in the Salvation Army and author of the book Doing The Most Good As A Servant of God in the 21st Century, described Manyika as a man who wore many Church hats.
“A man who wore many Church hats! This is the only appropriate way to describe Lordwell, a Soldier of the Harare City Corps recently promoted to Glory. When I transferred into the Corps in the early 1980s, Lordwell was the Colour Sergeant, (a Commissioned Soldier responsible for raising the Salvation Army Flag during Special ceremonies), and he was also a Songster. He worked for the International Bible Society and it was during the visit of his International Overseer to this country some ten or so years ago, that Lordwell invited me to lunch with him and his superior when I ended up joining the International Bible Society of which I am still a member, this is in addition to my membership of the Bible Society of Zimbabwe,” he said.
That
Manyika had a deep passion for things literary was a gift for everyone to see.
He was a writer and he loved to encourage writers.
“He was
a writer of note. Lordwell contributed to many writings at the Church. When one
of the Soldiers, Jackie Sadler, the Editor of
our Magazine the Trumpeter, left, Lordwell was appointed in her place
becoming responsible for writing many
articles about the Harare City Corps. This is a very important role which keeps
Soldiers informed of developments in our Church particularly, those who have
left but still maintain an interest in the progress of our ministry. I used to
contribute to the Trumpeter on account of my responsibility as Corps Secretary.
This did not go unnoticed by Lordwell who encouraged me to be involved in
general writing. It was through the urge of members such as Lordwell that I finally
put pen to paper to produce my book Doing
The Most Good As A Servant Of God In The 21 St Century. As expected, he was one of the attendants at
my book launch on 27 July 2018 .He was obviously happy when he realised his
dream of seeing me write a manuscript. May His Soul Rest in Peace,” elder Jumbe
said.
Esteemed Ndebele literature writer, editor and
publisher Barbara Nkala, also known as Gogo Nkala, said Manyika has left a wonderful legacy.
“It was with shock and sadness that I
received the news of Lordwell Manyika’s sudden collapse and passing away on
January 6, 2021. I worked with him at International Bible Society-Zimbabwe
(before it became Biblica) for eight years. He was in charge of the Shona
translation of the Bible and worked very well with our Shona team in
translation, review and testing work. Lordwell loved the Lord and would show
his passion and excitement whenever a milestone was reached in the translation
work. He also was a keen distributor of Bibles. Lordwell went to the Salvation
Army Church and always was ready to share a devotional during prayer time, and
he provided the good bass voice when we sang hymns and choruses for worship. It
was a wonderful day for him when the Bhaibheri Dzvene MuchiShona Chanhasi
was launched in 2006 after publication in 2005. Manyika had put his soul in
this successful version. Wonderful legacy. He is sorely missed by colleagues,”
she said.
The
Zimbabwe International Book Fair Association said it feels greatly robbed by
the death of Lordwell Manyika.
“As
ZIBFA, we feel robed by the death of Lordwell Manyika. A very humble and
brotherly man. Helpful and not quick to anger. Writers in all our associations
have always recognised the huge contribution of Manyika as editor and
translator especially during his days at Zimbabwe Literature Bureau. He was an
active participant at the ZIBF Indaba and ZIBF Writers Workshops. Often, him
and his colleague, Elvas Mari, came in with useful info about the practical
process of producing the book. May his soul rest in peace,” said Memory Chirere,
ZIBFA Board Chairperson.
Elvas Mari, former Director
of the National Arts Council of Zimbabwe, worked in the Literature Bureau with Manyika.
“I first met Mr Lordwell Manyika in 1990 when I was appointed Editorial Officer at Literature Bureau (Harare). We also had staff in Bulawayo branch of Literature Bureau. He was one of our seniors who taught us all about assessment of manuscripts, proofreading, editing among many activities that we did at the Bureau. Some of the senior staff members then were Mr Elson Tafa, Late Mr O Chiromo, Late Mr Amos Munjanja and our Chief Editorial Officer Mr Bisset Chitsike. This very experienced team was composed of non-university graduates as opposed to the newly recruited team of Mr Maxwell Ngangira, Mrs Ndaizivenyi Nyamakura, Mrs Lovemery Muzondo, and Mrs Zvikomborero Marimo. Please also note that the current Deputy Director of National Archives Mr Dunmore Maboreke and other later joined us later. Mr Manyika was very humble, helpful and unassuming gentleman who always was trusted to induct new officers especially in proof reading and editing. He was very professional in his work and always focussed on the job to be done He was also very religious as well and always would request people to pray before holding meetings. Our relationship was further strengthened because I was together with his young brother Zivanai at UZ in the mid-80s. I also briefly interacted with him when I was at National Arts Council of Zimbabwe when he wanted Council to partner the Bible Society, he was now working for to avail religious literature to those who wanted it. I am extremely sorry to learn of Mr Manyika’s demise and extend my sincere condolences to his family and workmates. May I on behalf of all former officers of Literature Bureau say MHDSRIEP,” he said.
Being a Literature Bureau editorial officer meant
networking with local publishers, writers’ and media organizations operating at
that time.
The Budding Writers Association of Zimbabwe is one
such organization that benefitted from the experience of Bureau officers who
often were invited to facilitate BWAZ workshops countrywide. Writers who passed
through BWAZ will recall the workshops conducted in all the provinces with
Literature Bureau editorial officers cum facilitators such as those mentioned
by Elvas Mari.
Although Manyika co-facilitated various BWAZ
workshops around Zimbabwe, the one held at Chevron Hotel in Masvingo many years
ago remained a memorable one till his death.
Whenever he met with this writer, a former BWAZ
Programmes Officer, or when introducing him to new people, he never forgot to
mention the Masvingo experience, mostly how hospitably the BWAZ staff took care
of him. He loved the experience. BWAZ at that time had Dudziro Nhengu as Executive
Director, Timothy Chaitezvi and this writer as Programmes Officers. Manyika
would narrate the experience of the trip to his friends with such enthusiasm
and gratitude. To echo what others have said about him, the man truly loved the
Lord and believed in living in peace & togetherness.
“These guys took good care of me on that trip to
Masvingo,” he would say and that alone seemed to him more important than
memories of the main workshop theme.
His enlightening
ideas always inspired budding writers. He understood what things ought to be in
the local book industry. When he was with the Literature Bureau, he in 1988
presented at an editors’ seminar a paper titled ‘Radio Programmes and Book
Titles in Relation to Their Themes’ which explained and justified the
customized format of the radio programmes which the Bureau was conducting. The
paper appears in the final compilation of all seminar presentations titled An Editor’s Manual (Mambo Press, 1992).
In his paper, apart from dealing with book titles and
themes, he also makes it clear that radio and TV programmes can boost book
sales and generate reading interest.
And who can forget the dramatized novel readings on
radio which were produced by the Literature Bureau some years ago!
Today, the Zimbabwean community lives in the absence
of regular book reading radio programmes in all indigenous languages thus it
lives in an environment that has no stimulus to reading or access to the world
of creative imagination. Sadly, we look back and talk about past well-known Shona
programmes like ‘Mabhuku Nevanyori’ (presented by the gifted Rebecca Chisamba
better known as Mai Chisamba), ‘Muninga Dzepfungwa (presented by Aaron
Chiundura Moyo) and ‘Vanyori Vemangwana’ (presented by Charles Mumanikidzwa).
Although there may be current literary and educational
radio and television programmes running, none of them are as popular as the
ones mentioned above which got every listener glued to his/her radio set.
In his paper, the late Manyika said, “The radio
programme is effective in that it reaches everyone with a radio set. These
people may be in the cities of Harare, Bulawayo, Gweru and Mutare, or the
villages and farming communities. As soon as interest in them is generated then
we shall have clusters of people gathered around a radio set waiting for the
Literature Bureau programme. Anyone who feels at ease with the listening skill
rather than the reading skill will enjoy listening to our programmes.”
The editor-translator was currently mooting the
formation a Trust that would fill the gap left by the Literature Bureau.
He did not much want to publicize this new vision of a
Trust as he wanted to patiently lay down the foundation first. However, he at
some point saw possibility of partnering with Writers International Network
Zimbabwe (WIN) and all other book industry stakeholders. He emphasized the
‘no-profit’ basis of the Trust but which basis he said doesn’t necessarily mean
an organization wholly forsakes the concept of making profits which it needs to
sustain its own life. In other words, the late Manyika believed in the
potential of partnering with stakeholders, including government, to change the
literary landscape of Zimbabwe.
Had he lived to drive his new vision of a literary
trust to fruition, no doubt this important radio aspect and other new ideas he
harbored would have found a niche in his constitution. He has, in Gogo Nkala’s
words, left us a wonderful legacy. We carry it onwards. He will be greatly
missed. MAY HIS SOUL REST IN PEACE
Tsitsi Dangarembga (Photo courtesy of newzimbabwe.com)
Below
are remarks by Chairperson of PEN Zimbabwe, the local branch of PEN
International, Mr Elisha July.
At PEN Zimbabwe, we feel
profoundly humbled by the recognition of one of our own – Tsitsi Dangarembga –
to the exalted hall of fame among the country’s foremost champions of one of
the key fundamental rights enshrined in our constitution – The Freedom of
Expression.
Indeed,
while Tsitsi remains a shining beacon among Zimbabwe’s literary luminaries
holding the distinction of being a trailblazer in
establishing Zimbabwean, and indeed,
African women on the international literary scene, she has added another crowning feather to her list of
formidable achievements.
Etched
in the minds of many up to this day are
social media images of a lone figure waving a protest placard
during an anti-corruption protest in
July last year. Many of us were astonished that someone of so slight a stature,
had the courage to stand up to the brutality that usually visits those who dare
challenge authority in Zimbabwe. All
this at a time when the country was in the grip of a global pandemic which had
generally unsettled everyone and placed the authorities on edge – as they
struggled to enforce an unprecedented national lockdown on a restive
population.
It is a
mark of Tsitsi’s extraordinary
commitment, not only to her chosen vocation as a writer and thought leader,
and that she was not content with just being an award winning novelist,
but she sought to add her voice to the broader issues of human rights and the
freedom of expression. At Pen Zimbabwe, we stand firmly behind Tsitsi on this –
because as authors and writers, we recognize that our craft cannot thrive in an
environment of repression and official bigotry.
Tsitsi
took a stand, as must all of us, in fighting for that which is just. Many of us
may lack the fortitude to face the might of those that wield the power – but
people like Tsitsi have shown us that it can be done. Tsitsi did not need to be
arrested and face imprisonment to be famous. She was already famous. She holds the distinction of being the author
of the first book by a black woman from Zimbabwe to be published in English.
As PEN
Zimbabwe, and the Zimbabwean literary fraternity, we are proud to share
Tsitsi’s many achievements. But most
significant is her pioneering literary works exemplified by her trailblazing
1988 debut novel, Nervous Conditions,
named by the BBC in 2018 as one of the top 100 books that have shaped the
world. This book went on to win the Commonwealth Writers’ Prize in 1989 – which
led to the book being translated into numerous languages.
Tsitsi
is a remarkable woman and we applaud the decision by PEN International to
bestow upon her the PEN Award for Freedom of Expression. We pledge our support
to her for we appreciate that such an award comes with enormous
responsibilities to uphold the sacred ideals of respect for human rights, right
to individual dignity and freedom to express one’s views without hindrance.
Tsitsi has raised our flag high in this regard and it remains incumbent on all
of us to live by those ideals.
Lastly
on behalf of PEN Zimbabwe family and all members, hearty congratulations to
Tsitsi – I am confident this award emboldens all of us to do what is right even
in the face of adversity.
Elisha
July, PEN Zimbabwe Chairperson
NOTHANDO STARTS BOOK SERIES
Winzim Online
YOUNG AND PROLIFIC WRITER NOTHANDO CINDY USAYI has done it again. She is already writing and publishing her new project Sins of The Soul Book Series.
Last
year, she published her debut fiction titled
Dreams Under The Noonday Sun available
on Amazon.com.
The first instalment of Sins of the Soul is already available on Amazon.com. Having had the chance to read the Book One, Winzim Online can report that Nothando is an unusually gifted writer as most of her themes also challenge adult readers to think. This first instalment launches one on a journey of suspenseful mystery, crime and the reader gets attached to the different youthful characters in the story.
Unlike the first novel which envelopes you in a fantastic world, Sins of the Soul series is exactly what its author says - a reflection of ‘what it truly means to be human’.
READ MORE HERE
THE YOUTH PERSPECTIVE
With
I am An African!
What does it mean to be an African? Some say that to be African means to be an individual but one that forms part of a whole. It means to celebrate our diversity in a way that promotes understanding and to focus on the challenges facing our continent. This definition may also refer to: Anything or anyone from or pertaining to the continent of Africa, people who are native to Africa, descendants of natives of Africa, or in other words, individuals who trace their ancestry to indigenous inhabitants of Africa, ethnic groups of Africa, African diaspora and the like.
However, one can spend a lot of time researching what it means to be an
African or what Africa means to the people who are living there but the
internet and other forms of media may not directly capture the true heart of
the people of Africa or Africa as a whole. For example, I am an African. I was
originally born in Zimbabwe but lived in so many different countries in Africa,
such as Namibia, Botswana and Lesotho just to list a few. Therefore, to me
being an African means, a whole lot more than simply reciting a dictionary
definition one can find anywhere.
We as Africans have experienced so much hardship and so much pain from
slavery, Political upheaval, racism and more, yet we not only value the lessons
we were taught from our elders and our ancestors but also we treat those around
us with respect and dignity despite what has happened in the past. Most of us
chose the path of forgiveness while keeping our minds educated and all-knowing
of the world around us. It is rare to find a lazy African. Majority are the
most hardworking people I know and will find different ways to achieve their
goal with or without the help of others.
I have never asked why I am proud to be African but as I look around, I
see the unmatched natural beauty of Africa. As Africans we know how to grow and
nurture our land while maintaining its natural beauty. We do not believe in
destroying what God has provided us but rather we understand and keep it in our
best interest to preserve the natural resources we have discovered over the
years since our existence. Not only that, but in the most difficult times some
of us have remained honest, humble and friendly.
Lastly, I have this left to say. We may have experienced a lot since the
beginning of time, as Africans but we must never forget where we came from and
where we are going or lose the hope of a brighter future for us all. We are
Africans and as always, we should feel proud despite the challenges we may
endure. I am an African and I am proud…
I am black,
I am bold,
I am brave.
I am strong.
I know where I belong.
I am love.
I am hope.
I am an African!
I live freely.
I live honestly.
I live knowing my family,
my roots.
I write my words.
I write my soul.
I write my heart.
I write my art.
My art says,
I am an African!
I travel.
I see all!
I hear and listen.
I pray.
I eat.
I learn.
I am an African!
I fear.
I blink.
Life is so quick.
I move.
I dance.
I stand tall!
I brave it all!
I am an African!
MUCHURI’S NOVEL ‘ZVAVANHU HEREVO’
COMING SOON!
By Chenjerai Mhondera
Tinashe Muchuri is set to release his second novel Zvavanhu Herevo in Harare in the first quarter of 2021. The multi-award winning journalist, poet, critic and novelist is revered for his undisputed antics and mastery in Shona as displayed in his debut Shona novel, Chibarabada (2015).
Zvavanhu Herevo will be his second novel which was initially set for release sometime
around mid-year of 2020 but due to the lockdown, the date was pushed further to
become part of a special early 2021 gift for book lovers.
Muchuri says that the book also
preserves the dignity of our local languages. He respects Shona dialects and
does not labour to standardize Shona. In his writing, Muchuri goes as deep as
to identify with the Karanga dialect of Zaka. The Karanga dialect of Shona is
sweet and seems so deep to those hearing or reading it for the first time. Ndau
words are pasted here and there as the novelist tracks his roots down to
Chirinda.
“I am writing in 'deep'
native languages, not only to preserve the languages from getting extinct, but
also to share with and/or reach out to the audience (people) some profound
knowledge."
In his story, the veteran
artist makes it a close encounter with the character Alec's explicit love and
sexual affairs with Hitekani, Soneni and others. It is nonetheless, the
novelist's thrust to delve into these explicit romantic affairs, but to reach
to audience with mature advice, on how to handle such affairs in the wake of
these pandemics like HIV and AIDS. In doing so, Muchuri does not blindly and directly
cast the advice. He instead, allows the characters to proffer such esteemed
advice, through their participation in the book.
Periods in the African
calendar, are always marked by historical events of the time. Such among them,
including droughts, elections, outbreak of pandemics and epidemics. Tinashe, is
not any departure from this. And it is in such African calendars, that such
captivating chronicles, do not show any gaps when it comes to relations and
family setups among Shona communities. It is such strong Afrocentricism that
makes the book, have no reference among Eurocentric or Western literature. The
characterization, was made possible even with some characters not explicitly
named, as John or Liam, for instance.
Current affairs, involving
unemployment, mysteries and spiritualism, witchcraft and exorcism are not
spared in Zvavanhu Herevo.
MABHUKU EDU
Na Prosper Njeke
Makadii vaverengi pamwe nevanyori.Titende iye Musiki wedu
anotipa njere dzekunyora uye anotichengeta panyika. Hezvi tave mune rimwe gore
idzva tiri vapenyu – tichingonyora nemiwo muchingorava zvinyorwa zvedu.
Sezvo pakurava kwedu tichisangana
nezvinyorwa zvakasiyana-siyana, muchikamu chino ndauya nechimwe chidzidzo
chekumbokuonesaiwo kuti chii chinonzi munyori,
chii chinonzi chinyorwa uye chii chinonzi bhuku. Vazhinji vanoverenga nyayanyorwa dzakasiyana-siyana dzinobva
nepadandemutande, idzo dzakanyorwa nevanyori vakasiyana. Zvino nokuda kwekuti
aona kuti chinyorwa ichi inyaya yakanyorwa nanhengi uye inofadza chose anenge ave
kutoti ibhuku. Bhuku nechinyorwa zvakasiyana. Chiregai tionesane zvizere.
Ini ndinoti munyori, muoni, mufungi uye
munhu asingazivi, asi anopiwa zivo nevanhu vasingazivi kuti agopawo zivo iyoyo
kuvanhu vasingazivi. Zvarevei? Zvareva kuti munyori munhu ashanda nezvaanoona
nemeso ake, oisa mufungo wake pane zvaanoona izvozvo, zvekare anotamba nevanhu
achiudzwa zvinhu zvinoitika muraramo dzevanhu iye ozochizvibatanidza ozviisa
pamwe muchinyorwa nemutauro wakatsetseka uyo unobva parurimi rwaanonzwisisa
kana kuti rwaada hake. Ndichitaura naVaMuchuri vakati, “munyori mutsvakurudzi,
muvezi uye muumbi wemazwi.” Kureva kuti munyori munhu anotsvakurudza zvizhinji
muvanhu uye achiunza mazwi matsva pakunyora kwake. Uyu ndiye anonzi munyori.
Vamwewo vanyori vemazuvano vave kuzviti vanyori havo asi havaiti tsvakurudzo.
Havana kana pfungwa itsva yavanounza muzvinyorwa zvavo, vanotora pfungwa
dzakambobuditswa mumabhuku akanyorwawo kare nevamwe.
Chinonzi chinyorwa, ndechinhu chose
chakatarwa pangava pabepa rinobatika nemaoko kana kuti kushanda kwenhare kana
makombiyuta. Apa panopinda zvizhinji ingava tsambambozha, kana tsamba dziya
dzainyorwa pabepa kusati kwakurumbira dzinharembozha uye marondedzero anonyorwa
nevana kuchikoro. Zvose izvi zvinyorwa. Izvi zvinodudza kuti munhu wese
akambotsika mukova wechikoro kana achigona kutaura achishandisa mazwi anotonzi
munyori, ukaona pakanyorwa unogona kutobvunza kuti ndiyani anyora apa? Iyeye
anyora, munyori.
Chinonzi bhuku, chinyorwa chakanyorwa
neingi chinobatika muruoko uye chiine National Registration Number inozivakanwa
nekuti ISBN, rochidhindwa riine ISBN iyoyo ndiko kunzi bhuku. Izvi
hatingazvifananidza nezvinyorwa zvizhinji zvakurumbira mazuvano, izvo zvinobva
kune vanozivikanwa nekunzi Online Authors, vaya vanonyorwa zvinyorwa zvavo,
votanga kuzvitengesa zviri maSoft Copy pangava paFacebook kana paWhatsApp.
Iroro harisi bhuku asi chinongori chinyorwa zvacho. Kushaikwa kweISBN
pazvinyorwa zvavo hakuvadzivisi kuti vanzi “vanyori,” kwete, vanotori vanyori,
asi hazvigoni kuti vanzi “vanyori vemabhuku,” nekuti zvavanonyora haasi
mabhuku, asi zvingoriwo zvinyorwa hazvo. Kunyangwe vakaita mari yakawanda
zvakadii kana kuita mukurumbira wakadii, asi zvavanonyora haasi mabhuku uye
havanzi vanyori vemabhuku. Dzavanonyora inyaya, asi kwete bhuku. Kuti vazonzi
“vanyori vemabhuku” hunge vatsikisa zvinyorwa zvavo zvova neISBN.
Chimwe chinyorwa chinogona kunge
chakanyorwa neingi uye chichitobatika muruoko, asi kana chisati chave neISBN
chinyorwa ichocho hachigoni kunzi bhuku, chichiri chinyorwa zvacho asi harisi
bhuku.
Dzimwe nguva chinyorwa chinogona
kutenge chatengerwa ISBN, asi kana chisati chadhindwa kubatwa muruoko, harisati
riri bhuku, nekuti dzimwe nguva unogona kungorasikirwa nacho, nekuda
kwezvikonzero zvakaita sematenda anosakiswa nehutachiona hunobata makombiyuta
aya akaita sanaTrojan Horse, Worm, Time Bomb, logic Bomb nemamwewo, kana kuti
nhare kana kombiyuta ine chinyorwa ichocho yafa kana kubiwa.
With
Simbarashe Clever Kavenga
Talk of Keaven Simomondo in the Arts Industry
Keaven Simomondo
When talking about the arts in Mutare, there are certain artists you hardly miss. Their names are like artistic sign posts to the creative fields of wonder. Yes, we have some artists who have been in the industry but their names are now buried under the dust of the shifting sands of time. Yet other names keep on shining like a beacon giving hope to new arrivals, and that’s exactly what Keaven Simomondo is like to artists in Mutare, the city of flowers and beauty where hope never dies.
When I
settled in Mutare in the early years of the new millennium, coming from Harare
the so-called citadel of art, Mr Simomondo was one of the first writers I met.
The other was the late former national Chairperson of BWAZ, Joseph Mwandiringa. The late Mr Ruswa who was then the National Arts
Council manager for Manicaland introduced me to Simomondo. By then he was
housed at the National Arts Council offices as an arts coordinator for the ‘Mutare-Haarlem
City Link’. Haarlem city of the Netherlands is twinned with our city of Mutare.
Artists here have benefitted from this friendship between the two cities.
Simomondo
is a spoken word poet born and bred in Mutare. As a child he grew up in
Dangamvura suburb where he went to Rujeko Primary School and then did his high
schooling at Dangamvura High. Currently, he is resident in Hobhouse suburb
where he lives with his family.
It is
William Shakespeare who once said some people are born great, some achieve
greatness and yet others are born with greatness thrust upon them. It is true
Simomondo was born with artistic blood flowing in his veins. From primary
school he was in the Marimba and Choir groups and he didn’t shift focus when he
crossed over to secondary school where he joined the Marimba and Debate clubs.
After
his O' Level Simomondo heard his artistic voice calling him home and without
hesitation he joined Siyakha Theatre Of Energy Collective Group. He says he
learnt quiet a lot from the directorship of the now late Mr Elisha Ndumiyana
who honed his poetry, drama and dancing skills at Siyakha.
Simomondo
was born blessed with supportive parents. Very few parents support their
children's dreams in the arts because they want their kids to follow the dreams
they dream for them. Simomondo says he remembers the first toy his parents
bought him was a guitar. Some people
choose the arts but as for him, it was vice versa.
Today,
as a man who has been in the arts field for some time now, his motto is ― 'Keep
focussed, no matter how hard, it is the eye that scales the height but the will
goes all the way up.'
His day starts around three o'clock in the
morning. He says he starts with meditating and that feels it lovely and
welcoming talking to the greatest artist of all the time, God the Creator in
the silence of hope-pregnant morning.
Writing comes naturally to him regardless of time and place, so he
always keeps a notepad and a pen. His phone is also handy.
I asked
Simomondo why is it that he has been a spoken word poet for some time now yet we
hardly read his poetry in print. I gave him an example of Albert Nyathi, also a
spoken word poet, who publishes his works in books. Nyathi’s books like Shakespeare My Son and My Daughter come to mind. He co-authored
one of these books with Ignatius Mabasa.
In his
defence Simomondo said, “I plan to publish for the sake of getting my works in
print otherwise I'm at home with spoken word only. And remember that the number
of readers is dwindling everyday unlike yesteryears.”
His cry
of distress is that these days very few people read for leisure. Learners read
only for the purpose of passing their examinations and when they are done, no more
reading of books. Yes it pains on hearing this but that's the naked truth with
its mud and warts. This is the tragedy unfolding before our eyes. The good old
days when you could meet people discussing a novel they have read are now
swallowed in the mist of time. Our golden years in the book sector are now in
the distant past. But should we surrender as authors? My own answer to this is
a big NO. Yes reading should start with you and I and reading should start with
us.
Let us all
not lose hope in the arts field, maybe one fine day people may want to read in
the comfort of their homes that same poem they heard being recited at a public
forum.
NGATINYOREYI
Na Tinashe Muchuri
Tisangane zvakare mumwaka weCOVID-19. Hazvina kuipa
kutevedzera zvinodiwa zvacho kuti tisawanikwa tichiparadzira chirwere
ichi.Pfeka chisekete chako. Geza maoko kwemasekondi makumi maviri, kupfeke chisekete
chinovhara muromo nemhino, kutaraukira kure semabagwe emataranganwa. Kuchengeta
vutano idonzvo rakanaka. Nokudaro, kunoitira nyika zvakanaka.
Ngatinyorei vanyori zvinyorwa zvakanangana nekuvhura
meso avanhu. Zvokwadi, pasina zivo hapana kurarama. Pasina zivo pane rufu.
Sevanyori ngatitsvakei zivo tidurure zivo iyi. Iyo zivo iyi ndiyovo
yototambidza kuvaravi vedu. Munyori mutsvakurudzi, tsvakurudza udurure zivo.
Muchikamu chino toda kunyora nezvemunyori
semutsvakurudzi. Nyaya hombe yauya maererano nekuti pane zvimwe zvirevo
zvatinoshandisa zvinokondora vamwe mukurarama kwedu. Izvi zvinobva nekusada
kufambirana nenguva kwave kukanganwa kuti vazivi vekare vakatisiira uchenjeri
hunoti kare haagari ari kare. Zvakare zvakaipa zvinosiiwa kuchitorwa zvitsva
zvinoindirana nenguva yazvino.
Kune tsumo dzimwe dzisisaiti kushandisa mumukore uno
watave, mukore wekugadzirisa ugaro hwakanaka pakati pevanhu munyika nepasi
rose. Zvakakosha zvikuru kuti pakunyora pedu sevanyori tisatsika zvigunwe
zvavamwe. Vanhu vanowanzotsikwa zvigunwe nguva zhinji ndivo vanhu vakaremara
pamwe nevanhukadzi. Zvisinei hazvo chikamu chino chichanangana nezvirevo
zvinokondora vanhu vakaremara. Vanhukadzi tichavabata muchikamu chinotevera.
Unoona munyori achipa muenzaniso wekuti, 'kunyarara
sechimumu' - iye zvino tinoziva isu kuti kwave nemutauro wekushandisa
zviratidzo (sign language). Uyu mutauro, utori mutauro unowanikwa pakati
pemitauro inozivikanwa uye ichibvumirwa kutaurwa pamutemo nebumbiro remitemo
renyika yeZimbabwe. Zvino panonzi chimumumu hachitauri unoshaya kuti izvi zvave
kubva papi. Chimumumu kureva kusataura mazwi anonzwikwa nenzeve asi anonzwikwa
nemeso. Asi takatoona kuti icho chainzi chimummuu hachizi nekuti munhu uyu
anotaura nezviratidzo, ane mutauro. Zvoreva kuti fananidzo iyi haichashandi
yakatosiiwa nenguva.
Hanzi mapofu haatungamirirani! Vamwe vachiti mapofu
haatungamirirani. Ukatarira munharaunda unotoona vanhu vanonzi mapofu vaine
zivo zhinji yavanopakurira vamwe vari vadzidzisi, vamwe magweta uye mamwe
mabasa akasiyana. Vamwe vanenge vari vatungamiri mumabasa umu. Zvino panozonzi
mapofu hatungamirani kana kutungamira vamwe ndepapi? Ivava vanhu vanoona
nenzira yechimuti chavanoshandisa chichena, maoko avo uye kushandisa nzeve
dzavo. Vanotofamba vega mumigwagwa vasingasangani netsaona, woshaya kuziva kuti
sei vachinzi havagoni kutungamirirana kana kutungamira vamwe vanhu. Zvinobvepi?
Sevanyori zvimwe zvezvinhu zvatinoti ndizvo izvo hazvisisiri. Zvinoreva kuti
tiri kusara shure nenguva, tichishandisa zvakasara nenguva.
Vamwe unonzwa vachiti handidi kuitirwa zvepfari kana
kuti usaita semunhu ane pfari. Izvi zvinhu zvinokanganisa vaya vane urema uhwu.
Dambudziko remunyori kukondora vamwe, zvino, paya pacharaviwa chinyorwa, ivo
vari pakati pevaravi, vanonzwa sei, ko ivo avo vari pedyo navo vachati kudii?
Ibasa remunyori kunyora zvakanaka zvinovaka ugaro hwakanaka muupenyu hwavanhu.
Vamwe voti zvinorwadza semudzimu wabata pambeveve. Ko
mudzimu wababa zvaunouya woga usingatengwi, waipei kuuya hawo pamunhu anotaura
mutauro wezviratidzo? Kukondora vamwe’ka uku! Tinokondororanirei nhai vanyori?
Izvi ndizvo zvinonetsa kunyange vapepeti pazvinyorwa.
Ndangoti nditi nyesvurei zvimwe zvirevo zvisisisina basa, zvasara nenguva uye
zvisisaiti kuti tirambe tichizvishandisa sevanyori mukuitira kuti zvinyorwa
zvedu zvisakondora vamwe mukurarama. Izvi zvirevo zvasara nenguva. Munyori
fambirana nenguva. Munyori usamira kutsvakurudza. Tsvakurudza, zuva nezuva
ufambirane nenguva.
Kusvika tasangana zvekare tichitaura nezvezvimwe
zvirevo nefananidzo dzinomonya vanhukadzi, ngatinyoreyi zvinyorwa zvedu
zvisingakondori varavi vedu asi zvichivaka ugaro hwakanaka. Tisakanganwa
chenjedzo yeCOVID-19. Garai muhutano. Chengetedzai hutano hwedu nehwevamwe.
Dzamara tisangane zvekare.
CHILDREN'S LITERATURE IN ZIMBABWE
With
Aleck Kaposa
Big Jo Goes To The Hospital
Big Jo lived alone in his dome-shaped grass hut at the edge of Kenzi village. The hut looked like a small mountain and had a large opening for a door and an anthill-clay floor polished with fresh cow dung every week.
Big Jo was the tallest and the biggest man in the whole village. He towered above everyone else like a gum tree among small bushes. The head on his shoulders was as big as a pumpkin and his hands were as thick as the branches of a muhacha tree. His breathing was as loud as a whirlwind. Despite his massive frame and fearsome look, Big Jo never fought with anyone and was friendly to people especially children.
“All
the children are my friends,” he would say at the borehole, smiling. “Let them
fetch water ahead of me.”
Sometimes
Big Jo went about the village talking loudly himself with children following
behind. “I am as big as an elephant!” he would boast as he carried a big metal
drum full of water from the borehole back to his hut. “I can uproot a baobab
tree with my hands.”
Big Jo’s dome-shaped hut
“Go, Big Jo, go!” the village children would cry out, following behind him as if they were his disciples.
“I’m
Big Jo. I’m not afraid of lions or leopards or even the dark.” he would
continue as the children egged him on.
One
day, Big Jo fell sick and started to sweat and to wheeze. He would not eat
anything. He just sat quietly outside his hut with his eyes to the ground, his
hands on his head. The villagers brought him food but he refused to eat. The
village headman said that is what he always did when he was sick. He always
refused to go to the hospital because he was afraid of injections from the time
he was a young boy.
“Please
don’t take me to the hospital!” Big Jo pleaded with a thin voice. “They will
pierce my body with those long, sharp and painful needles.”
On
the third day of his sickness, Big Jo was now weak and could hardly stand up on
his own. He just lay on a reed mat outside his hut, whimpering. The village
headman ordered a dozen strong young men to tie his hands and legs with a rope
and put him in a scotch cart drawn by donkeys and take him to the hospital. Big
Jo caused the strong young men a lot of trouble as they tied him up. Finally
they loaded him onto the scotch cart and took him to the hospital. As the scotch
cart went through the village, past the borehole, the grinding mill, the
rolling green maize, rapoko and sorghum fields and down Mashonga valley, Big Jo
still whimpered and pitifully begged to be let free.
Finally,
they reached the hospital at Nyabira Business Centre. The strong young men
lifted him from the scotch cart and carried him into the hospital on a
stretcher and he was immediately admitted. In the ward, the nurses had to put
together three beds for him to lie on. He was diagnosed with COVID-19. The
doctor ordered the nurses to administer two injections at once whilst he was
still tied with ropes. Big Jo cried like a baby, but there was nothing he could
do.
“He
shall be well soon.” the doctor said. “Leave him here and we’ll treat him till
he is well.”
The
strong young men rode the scotch cart back to the village, joking about how
much trouble they had had with Big Jo.
WINZIM ONLINE INTERVIEWS WRITER FANUEL
WANDAYI
Fanuel Wandayi
Who is Fanwell Wandayi?
I’m a marketer by virtue of being a holder of a Bcom Marketing Management Degree from the Midlands State University. I also engage in part-time consultancy work for start-ups and part-time writing.
Tell us a little bit about your second novel
The book is a Shona novel entitled Joti neKetani. The title when translated into English literally means Shackles and Chains. It is fiction based on slave trading in Zimbabwe, the participation of local chiefs in the trans-Atlantic slave trade and the effects of this dark chapter in the history of black people. The book has generated lots of interest from fellow writers particularly from the WinZim and The Sailors Club online platforms. I think this is because the book could be the first of its kind to touch on the issue. So I can say it is unique. There are questions of course on the factual side of this story and my answer is, the book is a product of research. In the story, a local chief's son is among those captured and sold into slavery. Although he manages to escape and return back to his people to try and set them free he discovers that ahead of him lies a mammoth task as most of his people now identify themselves with their captors and are even prepared to fight and defend them. The book is unputdownable, a thriller. The book has since gone through the initial editing done by the publisher and I have gone through the draft copy myself so I can safely say work on the book is almost complete now. The publisher is now doing the final touches sprucing it up for the market and if all goes according to plan it should be out soon after the lockdown. The initial arrangement was to have it published by January this year but we had to reschedule to counter production and distribution challenges emanating from the national lockdown. We did not want a situation where the book is published but it’s nowhere to be found on the market thereby frustrating our fans, a situation called vapourware in business language.
Which themes are you interested in?
Poverty, politics and some bit of romance. I identify myself with the poor and so writing about their suffering comes naturally to me. And of course politics and romance because of their profound effect on our daily lives, the two are irresistible.
How has the first book fared so far?
The book established me as a writer and a name to talk about in the industry but we have had challenges on the distribution side. The publisher relocated from Harare to Kotwa and then there was Covid-19 and the national lockdown. So currently we are sitting on a large number of unmet orders but I hope we will be able to make them good as soon as the storm is over. Hopefully my new book will help sustain interest on the first one.
Where can readers find the books?
Those who want to place orders for my first book Ndaiti Ndinotewo can contact Lawnic Publishing House on the following numbers: 0773 035 537/0733 895 244/0782 595 861. For those who would want to order Joti neKetani when it finally hits the shelves, if you happen to find yourself in Bulawayo or live in the city just visit my publisher, Progressive Booksellers and Publishers at Unit 1, Riverking Business Park, S Wallasey Rd, Donnington or contact them on 0775 071 268. Readers can also contact me directly for both books on the following numbers: 0773 674 057 (calls only), 0718 846 504 (whatsapp only)
What's your opinion about the future of Shona language?
That's a very good question. I think the coming in of the new curriculum brought about changes to Shona as a subject which I feel will impact negatively on the language. The subject was split into two namely Shona language and literature in Shona. Now if you move around you are going to discover that very few schools are offering the latter and this I think has destroyed the reading culture especially of Shona novels and poetry books. But these are the very sources from which the coming generations may enrich their language. I think there is need for a review of the new curriculum with regards Shona and if possible revert to the old set up where the two were combined to make one subject. Then we also have a new generation of writers whose style of mixing Shona and English is currently trending on social media. I have read some of their books and I think most of them are talented but let me be honest with you here, I don’t think this concoction that they are currently serving to their followers/readers is good for the Shona language.
Why do you choose the novel form and why not other forms?
I have novels only to my name at the moment but I’m also into poetry and short stories. As I speak, I am working with Louis Chihata, a Zimbabwean radiographer and writer based in Ireland, on a short story anthology which should be out by year end or early next year.
BOOK REVIEW
By Tendai Chinhoro
Author: Tawanda Chigavazira
Genre: Detective
Language: Shona
ISBN: 9781779251268
Watsika Rufuse is a Shona story about
Gangauswa, shortened as Gange: a young criminal based in Norton who brutally
murders his former teacher, Chatambudza. While he thinks he has succeeded in
avoiding custodial sentence through Bhunu; his cunning lawyer, Gange finds it
difficult to evade the tormenting spirit of his victim. The psychological
torture he goes through at the hands of Chatambudza's avenging spirit is therefore
the one that is likened to the anguish that one goes through upon stepping over
smoldering hot ashes with bare feet (kutsika rufuse).
The African cosmos has
always seen the human being as a whole. Even after death, burial of the mortal
body does not signify the end of the being. To an African, death is just an
elevation of someone to the upper chamber of life, from which one will be part
of those still living on earth (lower chamber). The upper chamber which
represents spiritual living is a more powerful force that can direct the course
of life to those physically living on earth. This is the same way a person who
died through brutal murder like Chatambudza can still take things in his own
hands to see justice prevailing. However, those who have joined the spiritual
world owe something to the living in order for them to execute some of their
duties. And, thus, we see Chatambudza's family going through all the processes
of bringing his spirit 'back in the home', a belief which culminates in the
brewing of the Kurova Guva beer, setting the pace for Chatambudza to start his
war of vengeance against his murderer.
Chigavazira brings to our
attention how as Africans we view mental illness in particular and mental
health in general. Gange is mentally ill but nobody cares about taking him to
the hospital, including the police officers at the station where he camps under
the influence of Chatambudza's spirit. Rather, they all agree to alert his
family so that he can be taken home not to the hospital. This demonstrates that
while Africans in general and Zimbabweans in particular have converted to other
religions like Christianity through various church organizations they always
have a subtle belief that there is an African spiritualty/Chivanhu which
governs their universe.
The African lukewarm
acceptance of the medical model and its emphasis on controlled diagnosis and
medication is always visible when it comes to mental health. To an African,
while a broken limb can be treated medically, a broken mind or spirit cannot.
Perhaps it is this ambivalence that has sustained much of the Indigenous
Knowledge Systems (IKS) and their practitioners in a society that has become
highly medicalised since the onset of European colonization. The only missing
link is the inculcation of certain health related IKS skills in the medically
oriented health personnel. All the same, even without this inculcation, some
medical health workers are known for giving advice to their clients to 'consult
the spiritual world' through subtle questions like 'makambofamba navo here.'
The writer himself
perpetuates the strength in African spirituality by deliberately superimposing
it over the modern adversarial and evidence based court system. While the court
acquits Gange on grounds of the inadequacies in the evidence brought forward by
the State, the spiritual world convicts him on the ground of it being an 'eye'
witness. What the physical eye doesn't see, the spiritual eye will see
including that which happens in the darkest hour of the night. The nature of
Gange's illness is evidence beyond reasonable doubt that he is the murderer of
Chatambudza, while whatever the detectives and the State bring to the court is
thrown out as not substantial enough to convict Gange.
Before he dies, Chatambudza
gets a glimpse of who his killer is and by this he makes his final glance with
the image of his murderer. Theories abound with how a person killing someone
should avoid eye contact with the dying person. The spirit of the dying person
will always remember the face of the last person that passes through its
optical field. However, as highlighted earlier, that will not be enough for
vengeance. The deceased still needs the living to remind him to revenge through
some rituals. In this case we see Chatambudza's father, Wazvaremhaka, verbally
making a recital at his son's grave, reminding him to start the war.
There are many research
works in psychology and law focusing on what causes someone to become a
criminal. Are criminals products of nature or nurturing/socialization?
Chigavazira seems to be giving us some idea, though inconclusive. He is,
though, inadvertently selling the idea that criminals are born and that there
is always some telltale signs that someone is predisposed to criminality.
Gange's anti-social nature is evident early in life. The boy had a strong
disinterest in school and was a notorious thief in his neighbourhood. Through
his father, we, however, learn that, there is hardly a history of criminality
in the family and he struggles to see who his son resembles. If there is no
such history in the family, perhaps Gange was not born a criminal. If he was
born a criminal this will still nail the family, particularly the parents,
since biology tells us that we all owe a great deal of what we have from our parents.
Chigavazira does not tell us much about Gange's early social life especially
his circle of friends. Perhaps as he grew up he could possibly have had bad
influence through bad peer company. What the writer however seem to emphasize
though is the Freudian school that whatever behavior is not successfully
suppressed in childhood would be resident up to adulthood, and possibly
throughout one's life.
While the story is set in
modern Mhondoro, Norton and Zvimba, the writer has a penchant to want to delve
much in the depths of spiritual world with the vehemence it had in the
pre-colonial Zimbabwe. While the gatekeepers of the African spirituality still
exist, one would wonder if it is still possible to come across a traditional
healer or spirit medium whose regalia would include hides of dead animals like
the lion or leopard, exuding supernatural power and pomp with the same
measure of sacredness that existed in the old world. The general belief is that
times have changed and though with some measure of spiritual power, modern day
spirituality practitioners have become a bit less charismatic. The use of
dreams, signs and wonders tells how much the writer desires his characters to
portray a metaphysical world, albeit in a 'spiritually broken' modern day Zimbabwe.
This does not, however,
take away the existence of a story in the story of Gange. It is a well woven
literary piece which juxtaposes the paintings of modernity and ancient history
on the canvas of social deviance, the defects of the Roman- Dutch Law in the
African context and the spiritual realities of the Shona people.
TO
2020
Bryony Rheam autographing a copy of her new novel at a launch in Bulawayo
(Photo:
AmaBooks)
"Bryony Rheam's second novel, All Come to Dust, was launched in Bulawayo in the garden of the Zimbabwe Academy of Music. There was a good turn out and the socially distanced audience gave the book an enthusiastic welcome. Luckily the rain held off. The scene was set by Bryony's youngest daughter, Ellie, playing 'Somewhere Over the Rainbow' (The Wizard of Oz features in the novel) on her violin. Drew Shaw introduced Bryony and Mzana Mthimkhulu also spoke at the launch about Bryony's writing."
Read more about the launch and the book CLICK HERE
LAZARUS BOORA
Lazarus Boora
Members of the Winzim Superclassic Whatsapp Group last year were so moved by the passing of Zimbabwe’s illustrious actor Lazarus Boora that the only way they could capture their emotions and pay tribute to the great entertainer was through poetry. Boora died on November 9, 2020.
May his soul rest in
peace.
Zororai Chirandu
Na Rumbidzai Olivia Mubirira
Penyu makasakura mukapedza,
Makaratidza nyika kuti kwedu nyambo
tinodzigona,
Nyika yaiti ikakuonai yaiseka,
Apo muri zii zvenyu,
Ndaiti munopora muenderere mberi nebasa,
Ndinokutendai Gono basa ramakabata,
Chinoita misodzi iyerere isingagumi ishoko
rakazouya,
Musi wamaoneka rino pasi,
Vadziwe vakandisvitsa shoko kuti wekwedu
waenda,
Handina kuzvitenda kuti muri weropa,
Ndakatuka kupesana kwakaita madzibaba edu,
Kuzivana muviri wodzimba,
Zvakadaro ndinoti zororai Moyo,
Vavaraidzei ikoko kusvika tauya,
Matungamira inzira yedu tose.
Munakachose
Na Tamutswa Muzana Kundidzora
Vamwe vedu vakaita semunzwa,
Kugaro djwunga vapfuuri,
Kusenekera mugumbo kusvika pakutumburwa
chave chiungu,
Kutozopomhodzwa nemoto gore rekutsva!
Munakandafa!
Zita kugara rakatumba pamuromo yevanhu,
Mabvire nemakukutu achikandwa,
Magaramoyo asingachazunguzi hana,
Akanaka kuzongoatambidzwa vanhu votya bvuri
Munakandafa!
Kuba!
Kuuraya!
Kubiridzira!
Zvose kuti namata pauri sezvimbi zvejongwa,
Maoko kutozopfupika watandadza,
Munakandafa!
WekwaRukweza wakazviramba,
Wakava musetsi weZimbabwe,
Akabvuta mwoyo yenyika yose achiri kufema,
Asingazive Gringo ndiyani?
Munakakose!
Nerwake rufu kupembedzwa,
VeNyaradzo vomusesekedza kunzvimbo yezororo
pachena,
Vanhu ibesanwa kuwonekana naye,
Umwe neumwe achidonongodzo zvinozipa,
Kwete nekutya bvuri,
Asi kupupura kunaka!
Munakachose!
NaNyambare F.J
Mubvunzo ndouno, seiko kuchienda vakanaka?
Chokwadi kutisiira mhondi,mbavha nevaroyi.
Ini ndaitoda kuramba ndichikuonai sekuru
Razaro.
Nyika yose kuyambukira nemhiri,
Yakatekeshera yekugona kwenyu mbiri,
Maigara makatitekenyedza pamainetsana
naMadhumbe imi,
Nemadyiro amaiita paya sekuru Razaro,
Ko Mbudziyadhura zvaachafa hake
nemafizhongo.
Kufa kwenyu kwandirwadza ini Chirandu.
Ko iye Firimoni wamakavharira paya,
Aaaaah sekuru dzangova ndangariro imi
matisiya kare
Makasiira ani chitsvambe zvino musati maenda?
Ko iye akazokutii Gringo,
Aaaa basa ndiye akatiparira
Paya makahusvuura hwahwa hwamusina kana
kutenga
Matirikisi enyu akapotsa azondirovesa
Dai makandiudza mamwe musati musati maenda
Takanzwa nezvekukomba kweurwere hwenyu
Asi taingoti muchatwasuka mukatizve turu
Kusaziva kuti ainge akunyangirai muenzi
asina gogogoi.
Zvino zvamaenda VaGweshegweshe vasati
vadzoka kubva paye,
Kana vauya tichavati kudii?
Imi matisiya asi mabasa enyu matisiyira
Tichangoaringa nekuarangarira
Gamba redu mune zvemitambo nekufadza vanhu.
Ndinoti "Zororai, tinemi sekuru
Razaro"
By
Tawanda Chigavazira
Bursts of laughter,
And giggle echoes
Within walls of many houses and shacks
As fascinated spellbound audience
Enjoyed every moment as it lasted.
It could only be the notorious comedian
Who invited even the tough hearted,
To hearty bursts of laugther,
Motivated the poor and those in solitude
To forget their damn sorrows
And laugh till they cried.
Enthused as well as amused
By rarefied comic theatrical antics,
Sheer brilliance par excellence!
Reflections of which evokes
Deep pain for dear souls
That laughed the bursts of laughter
In time with the Comedian
In hope that those comical days
Were a lasting illustrious lustre
Alas, they too ended.
Ended sooner than days of a lean year,
And the renowned Comedian was gone!
Gone in a Biblical Lazarus way,
Oh, may his Dear Soul Rest in Peace.
Unhu hwaGiringo
NaFarai Manguwo
Unhu hwaGiringo hwaisvota
Ini ndaive ndakamuvenga zvangu
Ndaingoti zimunhu iri !
Zvokwadi regai ndireve
Giringo waindisvota
Ndaiti ndikaona vhidiyo rake,
Ndaiswera ndichiridza tsamwa xaa putuu
Nekuda kwehunhu hwake hwainge marara
Icho chaairwa chii ?
Shanje dzaaive nadzo dzaipfutidza gwenzi
Chaairwa panaFirimoni chii?
Aimupfigirirei mumba maVaGweshegweshe?
Ko zimukonde resadza raaipurumutsa aitenga
hupfu?
Ko chikwereti chaJohn Banda akafa
achibvisa?
Ko icho chaiita kuti aise rwaivhi mushangu
yemukomana wekuLanzo chaive chii?
Ah!
Giringo waindisvota ini
Kusvota kusvika pakunakidza nekusvota
Kusvota zvekusvika pakusetsa nekusvota
Kusvota zvekusvika pakusada kushaikwa
nenyika yose nekuda kwekusvota
Aiwa Giringo wakatisvota ,
Wakatisvota ukazofa zvakatisvota
Nhasi takungosvotwa tichikudemba kuti dai
uripo watisvota
NaTamutswa Muzana Kundidzora
Zvichirwadza kudaro mvura ngaigare
mumaziso,
Wototsemura muromo nenyemwerero,
Meso achikanda mufaro,
Wadaro warova muvengi neyekumadzingambwa.
Usamututumadza nekuturutsa mvura isina
gogo,
Ziso rako rikande patariro,
Wopfekedzera uswa padendere rako,
Panguva yechando iwe nemanyana modziirwa,
Wangodaro waisa majecha mune ake maziso,
Ochecheta!
Usarapira nhunha dzake nekurereka musoro,
Usimudze mudenga sewemhakure,
Womuringa mumeso senurevi wechikwereti,
Ugwara ngaudyiwe napongwe,
Iwe semhare wotomira,
Wadaro wamupeta zenze,
Wake muswe wavemumateya!
Usamwisa bhora mugedhi rako,
Rikavire mberi,
Vaite chibhubhu varikure nepanomwiswa,
Worijungawo nechikunwe richienda kugedhi
kwavo,
Wadaro waparadza kugaro bongomora,
Wakundwa nevamwe seusina makumbo!
THE YOUTH PERSPECTIVE
With
Mimi Machakaire
2020 In A Nutshell
A lot
of people said they didn’t like the year 2020, but that was
probably because of the impact of the Coronavirus which affected a lot of
countries around the world. Most countries were shut down and
still up until now are closed to the rest of the world. Some have attempted to
reopen their boarders but sadly very little changed to that effect and, as a
result, had to close up again.
Loved
ones have been dying from COVID-19, and while others have recovered, there are still some long-term effects from having contracted the virus in the
first place. Furthermore, schools closed and everyone had to do most things online
but that made no difference to someone like me who spent a good four years of
university at an online institution, studying journalism, prior to all the
changes that shook the world at large.
As a journalist, most of my work needs me to be active on social media and other online platforms, hence I got into a lot of different activities that kept me busy during lockdown. A lot of plans that were supposed to happen changed during the year 2020, as did mine. For instance, I had wanted to start a youth platform with someone who was my business partner; we intended to build a magazine, but sadly, due to Covid-19, the plans were delayed until further notice. Even the job that I had as Junior Public Relations Officer at Black Mix Lesotho changed due to events being cancelled because of Covid-19. There was hardly any work to keep me busy and this was strange considering that after being online and graduating from University, I was ready to be more involved in working with other people and gaining experience. But I didn’t let all the changes stop me from being the journalist that I know myself to be.
One day
I woke up and said my youth platform is going to be a blog. So I started a blog
that told the stories of many different Basotho youths who are entrepreneurs
and creative thinkers. The blog featured women though there was
one man who shared his story on mental health. And that was an inspirational story from
a person who also has mental health challenges.
This
series of stories eventually led me to getting in contact with one person from
Writers Space Africa. WSA is an organization built to encourage African writers, and it was originally based in Nigeria. It started as a digital magazine but
has other activity platforms such as WhatsApp, Facebook, YouTube, Instagram and
Twitter. Now it has since grown into other parts of Africa such as Writers
Space – Zimbabwe, Botswana, Namibia, Uganda and many more.
WSA
tells so many different stories of the world in different literary formats such as poetry, article writing, flash fiction and more. WSA then led me to
another series that can be found on their website called Mental Health for
Creatives. This was an idea presented to me from the Founder of WSA Anthony
Onugba, after reading one of my mental health stories from my blog that I had
shared in the WSA-Main WhatsApp group. With that followed four blissful
informative stories on the topic of mental health that is currently an ongoing
project. I continued with WSA for the rest of the year, even up until now
(2021) and just at the last two months of the year 2020 a job found me. All this happened while in Lesotho
since lockdown restrictions hit the country.
So
fellow writers, readers, journalists and youth, my story doesn’t end here but
it is simply continuing into a different world of media. Despite the
challenges of COVID-19 and whatever was happening within my family, I didn’t let anything convince me to put a stop to my hopes and
dreams; rather, I took a pause here and there to rejuvenate and rethink a
different strategy before pulling up my socks and kept on walking.
CHILDREN’S LITERATURE IN ZIMBABWE
With
Aleck Kaposa
A Book I Enjoyed Reading 33 Years Ago
Title: Tongai the Londoner
Author:
Henry
Elwell
Artist: Hassan
Musa
Publisher: College
Press
First
published: 1982
ISBN: 08925300X
Category:
English
Supplementary Readers Level Ten
Features:
Illustrations,
vocabulary (glossary) meanings of italicized phrases, Multiple Choice
questions, Language Work, Discussion work
The story
The book is quick-paced and tells the story of Tongai, a young boy who is invited to visit his uncle who is the High Commissioner to Great Britain. One day Tongai visits a zoo in London where he overhears three men, Boabab, Boxer and Big Ears planning to kill the Queen of England when she visits Westminster Abbey. He tells a policeman who says he needs evidence of the planned murder and is unhelpful to him. Tongai tracks the men as they go to several places, planning their moves. Through Tongai’s alertness and brave action, the assassination attempt is foiled and Tongai is eventually honored by being conferred with the Freedom of the City of London at Buckingham Palace and is aptly nicknamed Tongai, the Londoner.
Comment
I thoroughly enjoyed this interesting, quintessentially English, well written and highly readable children’s book and have read it again and again over the years. It enriches the reader through various post-reading activities. The book is recommended for learners in grade 6 and 7.
NGATINYOREYI
NaTinashe Muchuri
Kukadzi 21 izuva rendimi dzavanhu pasi rese
Ngatinyorei
nendimi dzedu tisingasvodi kusekwa kana kusvorwa. Ndimi dzedu ndidzo tsika
dzedu. Madziri ndimo mune hope dzedu dzebudiriro nevandudzo yeupenyu.
Handichazezi kunyora nerurimi rwaamai. Ndakarupiwa ndikaruda. Zvino ndodada
narwo. Ndinonyora narwo. Asika handisini ndakatanga kudada narwo ndoga.
Muchinyorwa chino ndodavo kutaura nezve mbiru dzomutauro weChiShona. Ndichadoma
vashoma nokuda kwekuti ndikaredzva nyaya vamwe munozonzwa dzungu mukasanzwa
pane nyaya yangu. Zvisinei kuti tigone kupemberera zuva rorurimi rwaamai,
kureva kuti variyo vakatsira nheyo dzemutauro weChiShona dzakasimba, ndokuuyawo
vamwe vakasimbaradza nheyo dziya kuti dzisakanganisika. Kunouya mhepomupengo
kuvhunga idzi nheyo asi hadzingadoni.
Zvinonzi ndimi dzonzi hadzina basa kuti
dzinyatsodzidzwa kuzvikoro zvedzidzo yepamusoro. Hurongwa hunosandura dzidzo
yendimi hunonongedzwa senzira yekuponda vanhu, tsika, nehope dzavo dzoupenyu.
Vanhu vasina mutauro wavo vangava vanhu here? Kuzvisunga netambo
dzezvisunganidzo sekureva kwaBob Nyabinde.
Kune vasingagoni kunyararwa panotaurwa ChiShona.
Solomon Musvairo, Amos Hodza, Hebert Chitepo, Thompson Tsodzo, Modekai
Hamutyinei, Sharai Mukonoweehuro, Charles Mungoshi, Aaron Chiundura Moyo,
Collete Mutangadura, nevamwe vakawanda vakasimba kuti rurimi rweChiShona
rurarame. Zvaisave nyore kumira pane chinosekwa nokutizwa nevamwe asi ivo
vasingasvodi kusekwa. Vanyori ivava ndinovapa maoko.
Variyo vamwe vanyori vakasimbisa kudzidzwa
kweChiShona. Vadzidzisi vakaita saDale, Doke, George Fortune, Hebert Chimhundu,
Elvis Mari, Bissete Chitsike, Wiseman Magwa, Willie Chigidi nevamwe vakawanda
vakaita kuti ChiShona chifambire mberi. Havana kuita hudimbe hwekupakura
zvinyorwa mururimi rwaamai zvinomukurumbira. Kushinga kwavo kwaiva kwokuti
nhaka iyi isafa. Ignatius Mabasa unoti nhaka inoda kuwana vanoigara
nokuishandisa kuti isafa.
Vakauyawo vamwe vasina kuita husimbe. Chirikure
Chirikure, Ignatius Mabasa, Chiedza Musengezi, Charles Makare, Charles Mzemba,
Morgan Mahanya, vakachibata nokuenderera mberi nacho. Vamwe nanhasi vanacho.
Kukapinda vanaGodobori, Ticha Mudavazi, Dhege, VaSadza, Mwanakomana, Sir
Zvavanhuvevhu, Mambo Guramatunhu, Fadzai Katanda nevamwe vakawandisa vari kusekenyedza
dariro nokututsira mikuni muchoto kuti moto uve darautsavana.
Ndadoma mazita mashoma kwete nokuti ndivo voga
asi kuti uve munongedzo wokuti vachiriko vadavadi vanodada nerurimi rwavo.
Nhasi handitauri nezvamupebvu Soul Jah Love. Uyu anoda ndima yake. Kudai mweya
wake wazorora murugare nekuti akava pamamonya pakusimudzira mutauro weChiShona
nekushandisa mazwi ainge akanganikwa nevazhinji achiapa kureva kutsva. Chibaba.
Mutauro uyu unonaka. Inhaka yomusiidzanwa.
Ndichasiya nhaka. Neniwo ndoda kuisiya nhaka mhenyu isingafi. Ngatinyoreri
tisiye nhaka. Ngativeyi vakachengeteka kuhurwere hweCOVID-19. Ngatipfekei
zvisekete zvedu. Tigeze maoko. Dzamara tasanganazve tiri vatano hama dzadiwa,
ngatinyorei.
MABHUKU EDU
NaProsper Njeke
‘Chitubu Chenduri’ Inhetembo Dzinozipa
Muunganidzi weNhetembo - Prosper Njeke
Vapepeti Tinashe Muchuri, E.
Msipa, P. Njeke, O. Gwiriri and B.S
Chiguma
ISBN 978-1-77929-686-3
Vanyanduri makumi maviri nevaviri takabatana mugore ra2018 munaZvita paWhatsapp kuti tiruke muunganidzwa wenhetembo unonzi CHITUBU CHENDURI uyo watakazoparura muna Zvita 2020. Bhuku iri ranyorwa neunyanzvi hwepamusorosoro, zvekuti rinokwikwidza pakati pemamwe mabhuku enhetembo akatsikiswa pamakore apfuura nemamwe ari kutsikiswa zvazvino.
Nduri yangu yakanzi “Wairasa!” pp 7, inotaura
nezvekutengesana paushamwari. Vanhu vemazuvano ushamwari hwawo hauna machokwadi
ndizvo ndakanyandura ndichitsutsumwa pandakati,
Chiona ndazvagadwa sare madzvautsvau,
Misodzi mokoto ndochema maguyakuya.
Iwe woti pferu!
Bitwell Moyo ndinyanduri akati tsitsa pane dzerudo. Munduri yake inonzi “Rudo rwacho ngaruperere” aichema nevakadzi vakanaka pachiso avo vanoshandisa runako rwavo zvisizvo vachiita chipfambi. Ndizvo akati,
Chiso chakatambiswa zvacho kupaikirwa
padanda,
Muviri wako kuumbika unoti ihurungudo,
Izwi kutetepera nekutonhorera sechinwiwa chabva mufiriji,
Zvinofungwa ndiro dondo zvaro.
Mumwe akanyandura achishandisa njere ndiAbel Mauchi. Nduri yake inonzi “Ndava Kumboenda” pp 19, ine munhu pasi. Ndeye rume rine rushusho pane zvekudya, iro raipopetera mukadzi akanga adya nyama yehuku sepaanoti,
Tingadzipana pano huku ukaitevera iyi
Kana kuti uri kutamba hakozve?
Chindipa gapu ndirave nhengo.
Ndozvandisingadi Madhuve ndakazomuvhuna rumbabvu.
“Tsoro yehupenyu” pp 26, inovhura meso emunhu wese ari kurarama pasi pezuva kuti raramo yamazuvano inotida kuti iwe munhu uvhure meso, woona kuti zvinhu zvaminama wochitoruma romo rezasi kuti usvike murwendo rweraramo. Ndizvo B.S Chiguma akati,
Rugare rwunosvutidzana fodya neanobhindauka.
Usagarire
maoko urere muberere,
Uchimirira
kudya chekupungurirwa uchipemha,
Chekupihwa
hachina makoko mutsambakodzi.
Zviri mudzimba umu zvikukutu, regai mukare ati chakafukidza dzimba matenga. Lazarus Sauti akazvionawo, zvikamudzimba moyo, nhunha ndokudzidurura muna “Kwindi” pp 31, apo baba Chomu vanenge vachishushikana nekugarofundumwarirwa namai Chomu. Baba Chomu ndokuchibvunzawo mudiwa wavo kuti chinetso chiri pai. Zvino i-i, mai Chomu vacho ungati chikara zvacho, hanzi: Iwe baba Chomu,
Enda unopengera kwawakaroiwa mhani!
Usati pwetere pwetere zvisina nematuro
ose,
Kufara kana kusafara kwangu zvinei
newe?
Maitiro evanhu mudzimba umu anopedza simba. Sandikuti varume vega ndivo vanoshungurudza vakadzi, asi kuti ivo vakadzi chaiwo vanoshungurudza varume. Murume anonyimwa zvekudya kuita searisi baba vemba asi ariye. Zvichida ndizvo vamwe varume vachizopota vachifurira kunze kwedanga. James Chitamba akaitsokonyodza nyaya iyi pana “Kungotarira!” pp 36, paakati, Zvino kana vatarira vodii?
Zvinogumirepi vanyemudzwa?
Kuvata nezhara vakatarira chimukuyu?
Hunzi vonai chete, hamudyi!
Kungotarira, vangadii vasina kupuwa?
Vamwe vakomana vemakombi ungati havana kurerwa nevanhu, zvikurusei panguva dzavanotaura nevafambi. Joshua Muitire, akatepfenyura mboni yeziso rake akazviti bamama, ndokuti “Hwindi” pp 42 achimutsutsumwira:
Mashoko unoita zvekurutsa,
Mako mukanwa moita semakafira chidembo
Iyo ikorichi ipi inonodzidziswa mutauro
wakaora kudaro?
Vamwe vasikana munyika yanhasi havachina basa nedzimba nekuda kwekuti vanozviti vakarurama pachiso. Vari kuchibva vashandisa mukana werunako urwu vachingoda varume vese vese vachipuwa mari vachitadza kudzikama kuitawo misha. Emily Mushonga sanyanduri wechidzimai anorwadziwa zvikuru nehunhu hwevamwe vanhukadzi ava sezviri munduri yake “Tichakunzwirai” pp 52, paanoti:
Kuvatora nekuvapedza,
Kusiya vave vanamusvuuganda
..Riiniko pamuchaziva kunaka kwemba?
Edwin Msipa (Black Mampara) ndinyanduri wemakuwerere. Pana “Pindurai henyu” pp 58, akatanga apinda aongorora maitiro evanhu vanhasi akaona kuti vamwe vacho vanongonzi vababa, vanamai asi pavari panenge pasina unhu hwenoratidza kuti ava ndibaba kana mai. Anoshandisa unyanzvi wemazwi mukuratidza izvi, sepaanoti,
Imi!
Chamunoti baba chaiye chii?
Isvutu?
Hwapepe hwendebvu refu?
Zizwi rinenge rine hosho mumukanwa?
Kudya gomo resadza?
…Kuti titi avo ndiamai chaivo chiiko?
Idhuku?....Igogo ndefu?
Kazwi kakati tetepei zvinoti kwezvei?
Mukarara vamwe vapfumi vamwewo varombo. Vapfumi vave kuzvifunganya havadi kubatsirawo varombo. Vamwewo vanosungwa mujerere vasina mhaka yavapera. Ngonidzashe Paradza, anorwadziwa zvikuru nekutsikirirwa kwevsina mhako ndizvo pana “Ndiri izwi” pp 61, akati,
Izwi revanorumwa netsikidzi chinyerere
Vakabopwa
nemarikiti,
Inda dzichisvusvvura ropa ravo risina
chitema.
Nyika yedu yaZimbabwe yakashongedzwa nezvizhinji zvinofadza pamwe nekuyevedza meso. Vanhu vemo vanodya cheziya ravo zvinotofadzawo chose. Farai Manguvo akazvionawo, ndokuti “Chituburamboni” pp 66, Uyazve uone Zimbabwe izere nevabati vemaoko
Kune vanamhizha vanoumba hari dzemhando
Kuna vanachisorokadzi vanoveza zvivezwa
zvinenge zvichafema
Tisingavereni vanoita zvekuruka mhasa
netswanda,
Kikiki, hayasi! Vamwe varume vakuru vabvumi kukura chokwadi. Chokwadi murume mukuru kutsvetsva mwanasika anezera negotwe rake chokwadi? Izvi zvinotoitika. Simbarashe Chirikure, “Jambanja patsime” pp 73, akazviona zvichiitwa nemurume A, uyo aitsvetsva mhandara B, iyo yaive nezera negotwe raiye A. Zvino B, anoraidza kuva mhandara yakadya maraiwa evabereki ikaguta sezvo yakazoti, Makajaidzwa baba imi!
Murume mukuru asinganyare,
Hamuna
kukwana baba imi.
Ndiri zera regotwe renyu Rozi…Ptu-u! Pfungwa dzenyu dzakaora
imi.
Regai ndimhanye kunokureverai
kuvabereki vangu.
Rudo runonakidza kana uine wako waunodisa uye iyewo achikudisisa. Pane chakanaka chaunoita achikuyemurawo so.Oscar Gwiriri, anoyemura “Vimbai” pp 80, nerunako rwaainarwo kunyangwe ari kuhope. Kudai vakomana vanhu vese vachiragarisa zvakaadai murudo umo chokwadi hakuna imba yatainzwa kuti yapara, kana zvamendenenzi zviya kudai kusina. Inzwai zvinoudzwa Vimbai,
Ndinonzwa sei maoko angu,
Achipfanya
minyepfu yemuviri wako,
Iwe uri nyorododo muchipfuva changu,
Naiwo manyuchi andinokudururira,
Azere nekuzadziswa kwenhamburiko.
Mwari vari kudenga uko, masimba avo makuru uye anotyisa. Hakuna wakafanirwa kuenzaniswa navo parukudzo rwatinofanira kuvapa. Tonderayi Matema, anotivhendenyurira chipenga chemasimba anotyisa ana Mari zvekutu neniwo ndakatya. Ndzivo akati “Hukuru hwaMwari” pp 95, Hukuru hwenyu Mwari hauna godobori.
Iyeyu wamakaisa muffananidzo wenyu
chishamiso chikuru.
…maive makamira pai muchoumba nzou
yakakura kudaro?
Maiona sei muchisika twupukana
twusingaoneki?
Maifungei kupa kautunga huroi nehuipi
hwakadaro?
Ko, pamakaita muremwaremwa maive
nepfungwa mbiri here?
Iye anopetura vhudzi rashumba ndiani?
Kudya uchiguta haisi nyore, panotenge padeuka ziya. Ziya rikasachucha haudye. Ndizvo Tamutswa Muzana Kundidzora anorayira “Tinotenda” pp 98, kuti;
Zviri nani kuremberera pane kudonha.
Zviri nani kutatarika pane kuzvambuka,
Zviri nani kusvasvamhaira pane
kungoyeva
Simuka utatarike!
Tiri kurarama panyika asi, vamwe vane zvinobatika zveupenyu asi vamwe havana. Tinozvarwa tisina chatiinacho asi hapana anoziva kuti anozovei mune ramangwana. Shingirai Manyengavana anoshamiswa nekurongwa kweMusika maringe nemarongero avanoita upenyu hwedu. “Zvichazovei” pp 111, anoti,
Zvamakandisika, mukandiisa pasi pano,
Ndisina change chandinoti change,
Ndiri munhu zvake asina chake,
Maiti ndichazovei?
Vabereki vanofanira kuraira vanasikana wavo kana vonotanga misha. Ndizvo kuti imba’yo igare sezvo anenge akapfuma nedzidziso. Pasina izvi chokwadi mungazofunge kuti pamwe mune munyama wekuti dzimba dzevana venyu dzisamira. Luckomore Magaya anosimbaradza izvi muna “Rereka nzeve” pp 113, achiti;
Mai vako kukura kudai kutevedzera rairo
yekwavo kwaMapingire.
Vamwene vako ava,
Kunyangwe vari Tumbare zvake anogeza
mazino nematohwe,
Vade!
Vana mazuvano varasa tsika nekuti havana acharaira. Mwana kuti akure zvakanaka anofanira kuteerera dzidziso inobva kuvakuru. Natasha Gwiriri anonyeurira vana vadiki saiye kuti vateerere vakuru. Anozviratidza mundure yake “Yambiro” pp 117, paanoti,
Kana isu tichitaura kudai,
Imi dzokonoko mot indo ndo ndo zvitanda
munzeve,
Asi somunhu anokuruma nzeve handinete,
Dai wateerera zvamazvirokwazvo mwanawe,
wanzwa.
Albert. N Mawarire, muna “Siyira gakanje” pp 125, anoyambira vanhu vanhasi kuti varege kungotevedzera zvanoona zvichiitwa nevamwe nekuti kumagumo uko vangazochema. Anoti mumwe neumwe ngaaite zvake.
Ukava muteveri muswe uchatora hako.
Mira hako ipo panzvimbo yawazivawo.
Chemera kuchenesa hwaro hwerako,
Rwendo nokuti kunoperekedzanwa,
Kuvagomberi chete.
Vakoma vamazuvano havachina rudo rwemachokwadi kuvasikana vavo. Rudo rwavo nderwekuda kungotamba nevasikana vavo chete. Vasikana vanoshushikannna zvkuru nevakomana vakadai sezvo vasikana ava vanenge vaine tarisiro yekuzovakawo musha, asi vozongoona rudo rwuya rwatopera mushure mokutambwa navo. Irvine Mugwagwa akazviona zvikamudzudzawo ndokuti, “Ndaikuda nemoyo wese” pp 129,
Zvino pandakakuudza kuti ndainge ndazvimbirwa,
Wakaunyanisa chiso ukave nehasha ukadumbirwa.
Maziso ako akatsvuka nehasha kuita seerovambira,
Vamwewo vanhu vanhasi vachina hanya nenherera. Nherera dzotambura kutadza kuenda kuchikoro nekuda kwekushaya mari. Pamwe dzinonoruvira asi hadzipiwi muripo wacho. Admire Daitai anorwadziwa nemaitiro aya. Akabva azvibuditsa munduri yake inonzi “Mugodhi wadhirika” pp 138, Fundo toionera pafafitera vevamwe vachifunda vana
Ko, toiwanepi mari mugodhi wadhirika?
Toruvira mumana siku nesikati tiwane
chouviri.
Tapedza topiwa nerinosemwa sadza.
Munhu akange akura zvakadii asi anotomborangarirawo nhoroondo yekukura kwake. Kunyangwe munhu wave kugara kune imwe nzvimbo, asi unotomborangarira kwawakakurira. Tinashe Muchiri anorangarira mukuriro wake nezvaaiona pamwe nevaaigarawo navo, ndokuzviti chi, panduri yake “Chibaranyanya” pp 140, hanzi:
Ndaizonyanyofara ndichiona Mupatawamazana,
Nzira yemazana evarwi,
Mugomo guru reDyangwe rine makomo pamusoro,
Ipo pachipande charo pane nyika nyoro,
Nyika yakadiwa naDakire hanzvadzi yaVaMaruke.
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