Tag Archives: Karina M. Szczurek

Christmas Story: A Silver Spoon

IMGP2891Sanna never liked polishing the silver. She would have preferred to iron the white damask tablecloth the new Mrs Joubert brought over from home. She told Sanna her mother had given it to her as a parting present. Sanna listens to the huffs and puffs of the iron in the next room. She puts aside the last spoon and continues with the forks. Forks are tricky. You have to work the cloth carefully around the tines; the task is too much for her impatient chubby fingers. She takes a deep breath, trying to keep her cool. A cinnamony smell penetrates her nostrils. She looks at the big pot of stewing dried fruit, bubbling happily on the stove. It could also be the half-moon cookies Missus has put in the oven.

Rubbing Silvo into the cutlery, Sanna thinks of going home this afternoon; of her sister’s house in Worcester; the kitchen there buzzing with activities; her nieces and nephews, eagerly awaiting the next morning. She takes a sip of coffee Mrs Joubert has made for her before ironing. She still cannot get used to the idea of having anything served to her, especially not by the Missus – or Zosia, as she insists on being called. Old Mrs Joubert would never even have thought of it. But this one, this one was not born and bred here; she is different with her strange European ways. Sanna likes her.

In the other room, Zosia glides the iron over the intricate patterns of the white tablecloth. She breathes in the damp, warm smell of ironing. Her mother taught her to do it, insisting early on that she must know how to take care of herself. Housework always makes Zosia feel close to her. In this house, having Sanna to do most of it for her is difficult to get used to, but she understands the necessity of providing her with a job. When the tablecloth is ready, Zosia walks to the dining room holding it up between her outstretched arms. She places it carefully on the table and smoothes it around the edges with her hands. She puts the red placemats she bought for the occasion on top. She can already see how beautiful the silver will look on them.

‘Sanna, how are you coming along?’ Zosia calls into the kitchen.

‘Almost ready,’ Sanna replies, polishing the last knife.

Zosia puts long red candles on the table, then takes out some plates and glasses from the side cupboard. As Sanna comes through with the cutlery a few minutes later, Zosia is busy placing red and silver cone-shaped napkins into the neatly arranged soup plates.

Sanna sees the three placemats and is perplexed, but remains silent in her inscrutable way. Zosia smiles at her raised eyebrows and, bending over the table to put another wineglass into place, explains: ‘We have a tradition in Poland. On Christmas Eve, we always set the table for one extra person, just in case somebody stops by.’

Sanna shakes her head slowly, placing the cutlery next to the plates. ‘The most important Christmas meal on the 24th; twelve different dishes; no meat, just fish; waiting for the first star in the sky to appear before sitting down to dinner; opening presents on Christmas Eve; setting the table for a guest who never comes…’ In her head, Sanna repeats the list of strange customs Zosia has told her about in the last few days.

Seeing the dubious look on Sanna’s face, Zosia continues, arranging a few fir twigs around the tall candles. ‘There is a German saying, Andere Länder, andere Sitten. Other countries, other customs. I won’t be cooking twelve dishes for Johan and me tonight though,’ she reassures Sanna. ‘But there won’t be any meat, and we’ll have to cheat about the first star. We’ll starve if we wait for one to appear in this summer sky,’ Zosia looks outside. ‘In Europe we have snow for Christmas,’ she says and turns back to Sanna, ‘What is your sister cooking for your family?’

‘Chicken.’ Sanna does not say more. The single word fills her memory with smells and sounds of home and she looks at the grandfather’s clock in the dining room. Zosia catches the furtive glance. ‘You must be eager to go. Please, could you just vacuum the lounge and put the fresh linen on I have laid out on our bed.’ Before Sanna turns away, she adds, ‘Thank you,’ and, ‘I will make a small salad for us for lunch, and make sure that Johan remembers about taking you to the station on time.’

The ancient Hoover reminds Sanna of the old Mrs Joubert, always insisting on having the house vacuumed daily. She never said ‘please’ or ‘thank you.’ She passed away at the beginning of the year. After the funeral Johan decided to move back home with his outlandish wife whom he had married overseas without inviting the family. His mother never forgave him for it.

Sanna tucks the duvet in underneath the mattress and smoothes over the bed before putting the pillows in place. She hears Zosia call that lunch is ready. In the kitchen, she picks up her plate and takes it to her room in the back of the house where she always eats alone.

‘I wish she’d join us,’ Zosia tells her husband sitting at the kitchen table.

‘Years of conditioning. And you know how shy she is; give her time.’

Zosia sighs impatiently.

In her room, Sanna enjoys the salad. Her little suitcase is packed and ready to go. An extra bag leans on it. With the unexpectedly generous Christmas bonus she has bought some treats for her family.
Sanna wants to wash up the dishes after lunch, but Zosia tells her to leave them. ‘I can do it, no problem, and Johan is ready to take you to the station.’

‘Thank you,’ Sanna says and before she turns to go adds a shy ‘Merry Christmas’.

‘And merry Christmas to you, too. Enjoy your holiday, Sanna. We’ll see you after New Year.’ Zosia walks up to her and gives her a cautious hug. Sanna does not know how to react. She rushes out of the kitchen.
At the station, the bus is late. Johan insists on staying until it arrives, but Sanna tells him not to worry and to go back home. Half an hour later it is announced that the bus to Worcester has broken down and no other will be going there until the next day.

Back at the house, Johan helps Zosia with the preparations for their first Christmas dinner together. For the first time in years he is excited about the festive season. Overseas there was nobody really to share the occasion with before they met, and he never felt like coming back home to his mother’s overbearing presence and suffocating piety. He’d left on a job contract the moment an opportunity arose. Meeting Zosia on one of his business trips to Berlin where she was working at the time was like discovering a new continent.

All day long Johan has been watching her rituals for the festivities, which felt refreshingly like a safety net and not a wet bag. He has been delegated to set up the Christmas tree and get fresh Cape salmon from town. Zosia insisted on a local fish and recipe for tonight. He happily obliged.

While she is busy with the last touches on the dinner, Johan goes into the dining room to admire the decorations on the table and choose a wine to go with the Cape salmon. They both look up at the sound of the door bell.

‘Who could…?’ Johan strides over to the intercom, followed by Zosia, wiping both hands on her apron.

‘Beggars?’ she asks.

‘No, it’s Sanna!’ Johan buzzes the gate open for their housekeeper. Flustered, she explains about the bus. While Johan considers other options for getting Sanna safe home for Christmas, Zosia comes up with a simple solution.

‘You must stay with us for dinner, Sanna. Please, we would love to have you. And first thing tomorrow morning, we can both take you to your family in Worcester.’

‘But…’ Sanna is at a loss for words.

‘No buts, please, come. You can tell me how the salmon turned out. And for once, the extra plate at the Christmas table won’t remain empty.’ She smiles reassuringly and ushers Sanna through to the dining room, taking her luggage from her.

A while later Zosia is busy dishing out the food in the kitchen and Johan opens a bottle of wine. Sanna sits alone at the decorated Christmas table and does not know what to do with her fidgeting hands. With the left one she raises her fork, turns it, and watches the candlelight reflect off its polished tines. She puts it down again. Then with her right hand she picks up the spoon and inspects her image in its concave surface. Upside down, her head looks small, her torso elongated. She likes the slimmer version of herself. She turns the spoon and sees her still distorted face, but now the right way up, staring back. Her mouth is bigger than all her other features. She twitches her lips, opens them slightly and smiles. Slowly, from ear to ear.

‘Dinner is served,’ Zosia enters with the salmon from the kitchen.

First published as “’N SILWER LEPEL” in By on 20 December 2008.

Book mark: The Night Watchman by Richard Zimler

The Night WatchmanChief Inspector Henrique Monroe of the Lisbon Police Department is brilliant at what he does, but gets help from a very unusual source. When a successful businessman is murdered under strange circumstances in his home, Monroe is called to investigate. The complex case awakens memories of Monroe’s distant past of growing up in Colorado with his younger brother Ernie, and threatens to unravel the fragile new reality the cop had been constructing around himself in Portugal ever since. His search for truth takes him to the country’s highest echelons of power. What he finds is horrifying, but tragically common. The Night Watchman portrays a troubled, corrupt society any South African reader will recognise. Tense, deeply felt, the novel asks a pivotal question: “Was it a paradox that truths left unspoken ended up taking away your voice?” The disquieting answers it provides are heart-breaking.

The Night Watchman
by Richard Zimler
Corsair, 2014

Book mark first published in the Cape Times on 12 December 2014.

In 2007, I reviewed one other novel by Richard Zimler:

The Seventh GateThe Seventh Gate
Constable, 2007

In 1990 the discovery of seven manuscripts of the sixteenth-century Kabbalist Berekiah Zarco sparked Richard Zimler’s internationally bestselling novel The Last Kabbalist of Lisbon (1996). Following its success, Zimler, an American living in Portugal, published two other novels about the Portuguese-Jewish Zarco family: Hunting Midnight (2003) and Guardian of the Dawn (2005).

The Last Kabbalist of Lisbon explores the fates of the Jewish community at the time of the Lisbon massacre of April 1506. Partly set in nineteenth-century Africa, Hunting Midnight is the story of a friendship between the Portuguese John Zarco Stewart and an African healer and freed slave named Midnight. Guardian of the Dawn takes us back to Goa at the time of the Catholic Inquisition in the seventeenth century.

The fourth novel in Zimler’s independent historical novels series is The Seventh Gate. Set in Berlin of the 1930s, it portrays Hitler’s brutal rise to power and the effects it had on the Jewish community and the disabled long before Second World War began. It subtly exposes how a whole nation could succumb to the madness of the Nazi regime; some willingly, others under extreme pressure. Meticulously researched and vividly brought to life, Zimler’s Berlin of the 1930s is a nightmarish place where loyalty between family members and friends as well as each individual’s sanity and heroism are tested to the limits.

In spite of its harrowing topic, The Seventh Gate is the kind of novel that makes you relax after the first twenty pages, knowing that there is another five hundred in store for you before the final curtain falls. Driven by superbly drawn characters, strong dialogues, and the unusual but beautifully touching love story at its centre, The Seventh Gate is a tribute to all the people who suffered similar fates at the hand of the Nazis as the characters in the novel.

The story is told by Sophie. In the Preface of the novel she is a fragile eighty-nine year old living in America and being taken care of by her nephew. After a spell in the hospital she decides to entrust him with her memories of the past when she was a teenage German girl in Berlin of the 30s and the world began to fall to pieces.

Sophie tells the story of Isaac Zarco, a descendant of the Kabbalist Berekiah Zarco, and the members of The Ring, now a clandestine group of Jewish activists trying to fight the Nazi regime. It is also the story of her brother Hansi, a distant child whom Sophie loves dearly and whose life is threatened by the Nazis. Misunderstood by her mother, betrayed by her father and Tonio, the boy she has a crush on, Sophie has to make some tough choices, trying to protect Hansi and her friends from the Nazi onslaught. The sudden wave of mysterious murders, disappearances and forced sterilizations makes her and Isaac realise that Berekiah Zarco’s worst fears might be about to come true, centuries after he wrote his manuscripts.

Artistically talented and mischievous, Sophie is a heroine one will not easily forget. Her passion for the cinema, her growing sense of righteousness, her awakening sexuality, and her selfless devotion to the people she loves sparkle with authenticity. The novel is interspersed with the poignant sketches she draws of her friends, adding to this overall effect.

Much has been written on Hitler’s Germany, but Zimler’s The Seventh Gate reveals a side of its inhumane machinery which has not been as prominent in the renderings of the time as it should have been, as the novel carefully examines how the horrors we associate with the time of the war already started happening in the early 30s with everyone watching almost in complete silence. Zimler probes the questions of how power is consolidated by intimidation and propagandistic lies, but also shows how small acts of courage and integrity can stand in its way. As Sophie comments on her younger self: “I’m still too young to know that people need only be frightened for their lives to swear that night is day. And that they can believe it’s really true.”

In an interview with Boyd Tonkin, Zimler stated that the relationship between the siblings Hansi and Sophie is his “monument” to the victims of the Nazi war on the disabled. The author expressed his wish that “every reader who reads the book with an open heart will be devastated by what happens to them both.” Because of the powerful storytelling of The Seventh Gate one cannot help but be.

Review first published in the Sunday Independent on 25 November 2007.

Book mark: Playing House by Katherine Stansfield

Playing House_book markPlaying House is the debut poetry collection by the author of The Visitor (2013), a remarkable novel about loss and longing in Cornwall at the turn of the last century. As in her rich prose, in her poetry Katherine Stansfield has an eye for everyday detail. Her poems make us pause and consider. Whether describing a cat trying to get to an interesting-smelling morsel under the fridge, the auction of one of John Lennon’s teeth, the recipe for a crisp sandwich, or “raspberries lured to ripeness by the rain”, she moves from the familiar to the surprising and enchants in the process. Her images are clearly defined. The voice is authentic, subtle but strong. The title of the volume comes from “First Place”, a poem about a couple’s attempts at adult life. Full of thought, fun and beauty, Playing House is the real deal.

Playing House
by Katherine Stansfield
Seren, 2014

An edited version of this book mark was first published in the Cape Times on 5 December 2014.

Book mark: The Dig by Cynan Jones

The Dig_book markCynan Jones is a name to remember. The Dig is his fourth novel. It is an astounding piece of writing. Reading Jones one is reminded of the greats of English-language literature – Hemingway, Steinbeck or Virginia Woolf come to mind, each for different reasons. But Jones has a voice all his own. His prose is pure muscle and yet it conveys the most delicate of impressions and emotions. The Dig encompasses the best and worst of humanity. It tells the story of two men: a grieving Welsh sheep farmer and a brutal hunter involved in the illegal blood sport of badger baiting. The novel does not shy away from the horror of cruelty against animals, nor those moments which are unknowable, just before a life is extinguished. Yet it is most haunting when capturing what remains unsaid, as nature and life continue in the landscape of the human heart.

The Dig
by Cynan Jones
Granta, 2014

An edited version of this book mark was first published in the Cape Times on 5 December 2014.

Book mark: Unexpected Lessons in Love by Bernardine Bishop

Unexpected Lessons in Love_book markThe retired psychotherapist Cecilia and her novelist friend Helen are courageously battling cancer. The experience of undergoing a colostomy and living with a stoma binds them. Both are confronted with motherhood in the autumn of their lives: Cecilia, when her son Ian dumps a baby she had no idea existed on her doorstep, and Helen, when she receives a message from the daughter she’d given up for adoption in her twenties. They and their families discover that love has a way of finding you when you least expect it.

The same applies to Unexpected Lessons in Love. The book is that strange creature: a novel which is not exactly well written, clumsy and implausible at times, but one which has such irresistible charm that it is impossible not to love. Sadly, the author died of cancer around the time of publication.

Unexpected Lessons in Love
by Bernardine Bishop
John Murray, 2013

An edited version of this book mark appeared in the Cape Times on 5 December 2014.

Review: Dare We Hope? Facing Our Past to Find a New Future by by Pumla Gobodo-Madikizela

Dare We HopePumla Gobodo-Madikizela’s collection of articles published between 1995 and 2014 offers a fascinating glimpse into the main issues plaguing contemporary South Africa. A professor in psychology, Gobodo-Madikizela was deeply involved in the proceedings of the TRC and wrote the award-winning A Human Being Died that Night, one of the most relevant and haunting books of recent years. It tells the story of her interaction with Eugene de Kock, the apartheid assassin known as Prime Evil.

Gobodo-Madikizela is a leading authority in research on trauma, memory and forgiveness. Many articles in Dare We Hope? focus on remembrance and reconciliation as relating to race, gender and power. Gobodo-Madikizela puts her finger on the insidious everyday ways we work against a common future by “attacking one another…in private and in public”.

Having recognised the seeds of discontent being sown and germinating in our society, Gobodo-Madikizela warns against the next revolution, “one in which the masses rise against a new breed of beneficiaries of privilege.” The “never-ending cycle of nothingness” that is poverty and lack of aspiration “strips away the humanity of individuals.” Unless we can create opportunities for people to lead meaningful lives, we will have no future as a society.

A large section of the book is devoted to dilemmas of leadership and morality. It is an incisive analysis of the “terrible shame”, the “moral rot” of the Zuma years and the terrifying legacy they are threatening to leave behind: “From the beginning, Zuma’s presidency was destined to corrupt the soul of the country.”

Gobodo-Madikizela identifies what is “missing in our democracy”: “a spirit of human solidarity that transcends the commitment to membership of one’s racial group or political party.” Her plea is for a shared humanity, for the understanding and acceptance of our diverse grievances, traumas and complicities, and, crucially, for the triumph of moral responsibility.

The articles in this book repeatedly call for dialogue: “Listening to one another and acknowledging the experience of loss on both sides would be a start.” It is a call for the employment of that wonderful faculty we all have in common: our imagination. It is also a call for moving beyond denial and revenge into a space where guilt can be articulated and forgiveness becomes a lived reality.

Dare We Hope? is an extremely sobering read. Gobodo-Madikizela is under no illusion that what she is narrating is anything but “a gruesome tale”. However, her voice is one of wisdom and, despite all, deep-seeded hope. To ignore her insights and not to heed her warnings could prove detrimental not only to individuals but to society at large. This collection is a much needed reminder that South Africa is in a dire need of more dissenting voices and, even more importantly, true leaders who can lead by example. Gobodo-Madikizela’s vision is a vital contribution in both respects.

Dare we hope? Perhaps. One thing is for certain; a lot of work needs to be done to rekindle the spark of an earlier promise.

Dare We Hope? Facing Our Past to Find a New Future
by Pumla Gobodo-Madikizela
Tafelberg, 2014

Review: Tales of the Metric System by Imraan Coovadia

Tales“…for me, Tales of the Metric System is by far his most accomplished. It is definitely one of the most profound fictional takes on South Africa’s transition from the horrors of the apartheid era to the uncertainties of the present. Spanning four decades between 1970 and 2010, the novel captures the spirit of all crucial historic moments of the period by focusing on the lives of a few people, real and imagined, whose stories are intricately interlinked.”

Read the entire review on LitNet.

Tales of the Metric System by Imraan Coovadia
Umuzi, 2014

The official book trailer:

Review: in a burning sea – Contemporary Afrikaans Poetry in Translation edited by Marlise Joubert

in a burning seaMy Afrikaans is sufficient enough to follow everyday conversations, watch Afrikaans soapies and read Die Burger. But ever since hearing Antjie Krog read in her deep, melodic voice from her impressive oeuvre in Afrikaans I have wanted to understand more than just basics. Until that moment arrives, only translations allow me to savour some of the riches of Afrikaans writing. In poetry, these are not easy to come by. Of the few available in recent years in English, Krog’s Body Bereft (2006), Ingrid Jonker’s Black Butterflies (2007) and Wilma Stockenströrm’s The Wisdom of Water (2007) in particular belong to my all-time favourites.

in a burning sea is thus a highly anticipated publication which will hopefully pave the way for more translations. Altogether the anthology features thirty contemporary Afrikaans poets. Alphabetically arranged by authors’ names, the collection takes its title from a poem by Breyten Breytenbach, one of only a handful widely translated practitioners of the craft: “how often were we here / where only silver shadows stir / only through you I had to deny myself / through you alone I knew I had no harbour / in a burning sea”.

The editor Marlise Joubert, author of seven volumes of poetry herself and editor of four Versindaba anthologies (a publication inspired by the annual poetry festival by the same name), asked established poets and newcomers (but with at least two published volumes to their name) to submit ten poems from which a selection was then made for the book.

Among those included are the exciting young voices of Ronelda S. Kamfer (“the bullet nestled in his throat / his mother did not cry / the politicians planted a small tree / and the Cape Doctor tore it out / and flung it where the rest of the Cape Flats dreams lie – // on the flats”), Danie Marais (“On seconds thoughts, Stellenbosch, / you are a violated classic – / a bergie with an 1840s gable / for a hat…”), Carina Stander (“in the weak sunlight / filtering into the kitchen / mothers like calabashes / nattered on knitted goatskin”), and Loftus Marais (“and when i have to stand before Him / i’ll curtsy effeminately / and carefully explain to Him / that my catsuit / (folded in the suitcase next to the vanity case) / is fire resistant” – from The Second Coming) who hold more than their own along such greats as Breytenbach, Krog, Stockenström, Petra Müller, T.T. Cloete or Marlene van Niekerk.

Top translators of the likes of Michiel Heyns, often in collaboration with the poets, and the authors themselves made the work available in English. Hardly ever was I aware of reading translations, the Afrikaans poems feeling very much at home in their new incarnations. The originals are presented alongside the English for parallel reading.

André Brink’s introduction gives a short historical overview of Afrikaans poetry and its various trends, placing the selection in context. Most poems included are very recent, with a few exceptions dating back as far as M.M. Walter’s Apocrypha XII (1969): “When Eve clad herself amidst the grove of figs / in fashions by the heavenly Hartnell –”. Some poems had not been published at the time of submission, including Marlene van Niekerk’s eulogy Hamba kakuhle, Madiba.

What strikes one immediately when reading the anthology is how well local flavours mix with global traditions. The anthology opens with a landscape poem by Zandra Bezuidenhout about the last days of summer in the Midi: “the night is balmy with bonhomie / and aromas linger like tongues”. Bezuidenhout’s other poems are steeped in an irresistible sensuality whether she describes the sharing of a fig (“and offer the plum-red sweetness / as token of our bonded state”) or an exhibition by Marlene Dumas (“how transparent the nipple-bud / bleeding in berry-red passion”).

Universal themes are presented along concerns closer to home such as in Martjie Bosman’s Scorched Earth (From Ouma Makkie’s stroke-stricken mouth I inherit / two bitter words: insult and scorn / and the mournful knowing that generations / settled this family land in vain”), or Daniel Hugo’s in memoriam poem to Ingrid Jonker, Escape (“I love walking – drunk on ozone – / up to Three Anchor Bay…everywhere sewage smells / algae, seal vertebrae, mussel shells / a clotted, stinking ink-fish / and – stone-cold sober – you see / at times a poet’s body”), or Krog’s colonialism of a special kind (“people are made ashamed that they have forgiven // because at the deepest level / we respect anger / understand hate / admire revenge”).

in a burning sea gives one an enticing taste of what is happening in Afrikaans poetry at this point in literary history. Not all the poems selected take one’s breath away, but they definitely put one in a mood for more.

in a burning sea: Contemporary Afrikaans Poetry in Translation
edited by Marlise Joubert
Protea Book House, 2014

An edited version of this review was published in the Cape Times on 14 November 2014.

Book mark: The Lullaby of Polish Girls by Dagmara Dominczyk

LullabyAnna’s family emigrates in the 1980s before the changeover in Poland and settles in New York. Missing her roots and extended family, every summer Anna returns to Poland on her own and spends the holidays in her old neighbourhood where she befriends Justyna and Kamila. Together, they survive the ups and downs of puberty: jealousies, hang-ups about their developing bodies, the turbulences of first loves, budding sexualities and substance abuse. Some things go horribly wrong and one day Anna refuses to come back for another visit. Years later, another tragedy brings the three friends together again. Poland is undergoing its own transition while the young women face the new reality and try to pick up the pieces of their broken dreams. The Lullaby of Polish Girls is a fast-paced story of growing up in a migratory world.

The Lullaby of Polish Girls
by Dagmara Dominczyk
Quercus, 2013

An edited version of this book mark first published in the Cape Times on 14 November 2014.

Dagmara_DominczyckDagmara Dominczyk is a Polish-American actress who has appeared in the film The Count of Monte Cristo, as well as several Broadway and TV productions. She majored in Drama at Carnegie Mellon University and graduated in 1998. She is married to the actor Patrick Wilson and they live with their children in New Jersey, USA.

Review: The Gonjon Pin and Other Stories – The Caine Prize for African Writing 2014

The Gonjon PinThe Caine Prize for African Writing has a reputation of launching literary careers. Previous winners include Helon Habila, NoViolet Bulawayo, and Henrietta Innes-Rose. The Caine Prize collections of stories comprise each year’s shortlisted entries and pieces written during a workshop organised in conjunction with the prize.

By nature an anthology of short stories is usually a mixed bag. This year’s volume, apart from some excellent exceptions, is not particularly accomplished. Reading most of the contributions one senses amazing talent and potential, but the stories, even two or three of the shortlisted ones, feel unfinished. They intrigue, but do not wow despite varied themes, innovative approaches to form and content, and moments of stylistic beauty. All the elements of great short-story writing are present, but they hardly ever feature together in one piece.

African writing has a certain reputation, on the continent and beyond. Depending on individual tastes, readers either fear or count on stories of socio-political relevance, everyday hardship and disillusionment, the diaspora experience, violence and abuse, the HIV pandemic, neglect or instability. There is a prevalent feeling of ‘things falling apart’. The Gonjon Pin and Other Stories includes all of the above and in that sense does not disappoint.

The shortlisted stories stand out for their originality. In Diane Awerbuck’s Phosphorescence (South Africa), a suicidal young woman bonds with her daring grandmother over the bulldozing of a city landmark. While following the election back home on television, a Zimbabwean family tries to negotiate between a quarrelling couple in Tendai Huchu’s The Intervention (Zimbabwe). Billy Kahora’s protagonist develops an uncanny relationship to a zoo gorilla in The Gorilla’s Apprentice (Kenya). And in the winning entry, My Father’s Head by Okwiri Oduor (Nigeria), a woman tries to conjure up her dead father by drawing him, but his head refuses to fit into her sketches.

The shortlisted story which impressed me the most, however, was Efemia Chela’s Chicken (Ghana/Zambia). A young writer of remarkable assurance, Chela has that rare gift of making you pause again and again to appreciate a striking image or a perfectly balanced sentence while never allowing you to take your mind off the story she is telling. Chicken is about a woman who cuts the ties to her family and tries to survive on her own in the big city by making some tough choices.

Of the twelve workshop stories, the titular The Gonjon Pin by Martin Egblewogbe (Ghana) and The Lifebloom Gift by Abdul Adan (Somalia/Kenya) were a true discovery. Reminiscent of the mad and irresistible story-telling of such authors as the Israeli Etgar Keret or the Welsh Alex Burrett, these surreal tales made me sit up, laugh, shake my head, and marvel at the incredible power of the genre. Egblewogbe has his characters dealing with a man’s functioning genitals hanging on a study wall. Adan creates a world where an unusual man spreads cult love by stimulating people’s moles. It is gems like these that make reading anthologies worthwhile.

The Gonjon Pin and Other Stories: The Caine Prize for African Writing 2014
Jacana/New Internationalist, 2014

First published in the Cape Times, 10 October 2014.