Double barrel of Shona poetry
“Hodzeko Yenduri” and “Gwatakwata Renhetembo” are like twin anthologies in that they were published at the same time last year by the same publisher, Secondary Book Press, and edited by the same editor Munyaradzi Gunduza. Furthermore, they were launched at the same time as part of the mega book launch held late last year at the University of Zimbabwe.
The two anthologies feature new voices, with three of the poets namely Clever Simbarashe Kavenga, Bridget Chinouriri and Oscar Gwiriri appearing in both. However, this all does not mean the two books share the same destiny as it takes the “insides” of both books to determine such things. The two anthologies ensure Shona language does not diminish and therefore this is a huge contribution to the literary wagon.
Readers will have a wide field in which to enjoy various ideas, experiences and emotions expressed by the new Zimbabwean voices.
This week Bookshelf focuses on one of the two anthologies, “Hodzeko Yenduri” which features fourteen poets. One word that well describes these poets, telling by the inexhaustible themes they tackle, is: observant.
The Zimbabwean society is critically looked at and both positive and negative changes that have taken place are captured in words of keen perception.
Poets in this collection are: Francis Matambirofa, Enerst Tachiona, Tinashe Muchuri, Oscar Gwiriri, Ushehwedu Kufakurinani, Trust Mufundisi, Sharon Hofisi, Clever Simbarashe Kavenga, Godfrey Muzondo, Simbarashe Chirikure, Bridget Chinouriri, Tapiwa Mabasa, Liveson Tatira and John Matengarufu.
All the poets handle different issues from interesting perspectives, issues such as the disunity of African people, HIV and AIDS, domestic violence, love and betrayal, the liberation struggle.
The conspicuous worry expressed by many poets is the diminishing of African cultural values. It is a cry for the return to innocence.
For instance, Bridget Chinouriri in her poem “Kangoma Karirisi” sadly shows the lost generation fooling itself in the name of ‘advancement’. Like other poets in this anthology, she targets the internet as having negatively impacted upon the youth. Now that the school system is pondering introducing smart phones, how much control will parents have over their children?
“Zvino nhasi pasi idzva raoma iri, hameno takapona.
Vana vanhasi vopinda nemwenje mudziva takatarisa.
Ukada kutsiura unonzi, “Makasara amai, mune dzungu!”
Vabereki vadzungaira, havachaziva zvekuita, Nemaindaneti akati kuuya aya, Vanoswera vakati udyu maziso Kungogugura-gugura, ko, pane zvaisingazivi here indaneti?
Nezvinyadzi zvisiri zvezera zvinongoburitswa, Chayo kumirira kubvunzwa.” The city life is an interesting subject in this collection. The city has harbored anti-cultural influences for both men and women and we seem to be fast falling into the abyss. Bogged down by the fast-moving and expensive city life, the persona in Francis Matambirofa’s poem “Zviri Nani” longs for the simple rural life:
“Zviri nani ndidzokere zvangu kwedu kuMagwarara
Kwataidzipfodora hope tichiita ruzha rwemagwiriri,
Rwizi Nyautonge rusingagoni nehasha kufema,
Mumba yokubikira tigere muchiutsi tichifuna-funa,
Chibage, nyimo, mapudzi, nzungu, ipwa nemavise.
Kwete zvemuno Muguta makamanikana sebhandeji.”
It is in the same city where fashionistas do not worry about ubuntuism. Dressing represents character and how one dress either attracts dignity or indignity. As an African nation, we hold it true that some parts of a woman’s body need not get exposed but it nowadays doesn’t matter. Liveson Tatira observes that:
“Kana turi tukomana unofunga kuti twabirwa nhava yokuisa mbatya.
Unowana twakaturikidza midhebhe gumi ichirembedzwa kumashure…
Turi tusikana unoshaya kuti rokwe racho ibhande here nekupfupika.
Tukadonhedza chinhu tunoshaya kuti twononga sei…”
It is in the same city that technology, particularly the internet and social media, has disturbed the African way of life. The internet and social media has reduced the whole world to “press-thekey” and you get what you want, even a wife! Bridget Chinouriri condemns Facebook for destroying African courtship tradition which involved the aunts and uncles. Her poem “Chisionekwi Mhodzi Yechingwa” observes that Facebook, which she calls “bhukufesi”, has contributed to rushed marriages. Our poets, or shall we say our language experts, have not yet come up with indigenous words to describe technological terms. While Chinouriri calls Facebook “bhukufesi”, another poet Ushehwedu Kufakurinani calls it “chisochebhuku”. All these direct translations lack some “context”.
In six stanzas, poet Oscar Gwiriri captures legendary writer Dambudzo Marechera’s biography, affirming the fact that writers never die. Artists refuse to “die” as Tinashe Muchuri shows in his poem “Pandinozorora” in which the persona refuses the funereal language of condolence.
“Hodzeko Yenduri” captures a large spectrum of Zimbabwean life but one thing that shows that some of the poets are yet to learn their craft is the “over-detailing”. A few have mastered the art of pruning; they struggle to convince the reader and hence they find themselves explaining too much.
Dambudzo Marechera describes this problem of ‘explaining’ in poetry as “a crisis of utterings”. Be that as it may, the anthology is indeed rich in Shona language which the poets recreate with such intensity.