EED102G/104/2/2012

Tutorial Letter 104/2/2012

Ways of Knowing: Fiction, Poetry and Drama

EED102G

Semester 2
Department of English Studies
This Tutorial Letter contains Feedback on SelfAssessment Exercises.

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ANSWERS/FEEDBACK: SELF-ASSESSMENT EXERCISES

Feedback on Self Assessment Exercise 1: FICTION FACTOR

After Twenty Years

In the next few pages I shall discuss two main areas of work:

(a)

how to present your answers correctly; and

(b)

how you could have answered the questions in the exercise.

(a)
(i)

Common Errors

Substantiating your ideas

A very important instruction is given at the beginning of this exercise: In answering the following questions, remember the importance of supporting your views with evidence from the text (even if we don't always ask you to do so!). However, many of you seem uncertain about how to do this in the correct way. The best way of supporting your view is to quote directly from the text. For example, in your answers to Question 1 (concerning the impressions we receive of the policeman in the first two paragraphs of 'After Twenty Years'), you may say that the policeman appears honourable, confident and meticulous (giving or showing great care and attention to detail) in his duties. However, simply stating this impression is only half the job: now you have to find words or phrases in the text which substantiate this impression. In the rough notes you made in preparing for this answer, you might have jotted down the following:

impressive mentioned twice : '... moved up the avenue impressively' and 'The impressiveness was habitual ...'. '... twirling his club with intricate and artful movements ...' '... stalwart form and slight swagger ...' '... made a fine picture of a guardian of the peace ...'

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Having found the relevant phrases, you need now to incorporate them into the account of your impression of the policeman. This brings us to the next important point about presentation:

(ii)

Integrating quotations

A quotation (that is, a piece of text copied directly into your answer) must form a grammatically coherent part of the sentence. Can you spot the difference between the following sentences?

X He is reliable and continues with his job in spite of weather, 'Chilly gusts of wind with a taste of rain'. The fact that the policeman continues with his job in spite of the '[c]hilly gusts of wind with a taste of rain' (p. 33) indicates that he is reliable.1

The first sentence is incorrectly presented because the quotation is not in keeping with the syntax of the rest of the sentence. The second sentence makes exactly the same point, but the quotation has been included in such a way as to make grammatical sense. Now see if you can correct the following sentences:

X 'The policeman on the beat moved up the avenue impressively', he is a figure who stands out and is easily noticed. ................................................................................................................................ ................................................................................................................................ X He is very confident and well-used to his job 'twirling his club with many intricate and artful movements'. ................................................................................................................................ ................................................................................................................................ ................................................................................................................................

Note that if we have to change something in a quotation to make it fit the sentence, such as change a capital letter to a lower case letter (as I have done in this case), change the tense of the sentence from the past to the present, or perhaps change a pronoun (he) to a proper name (Jimmy Wells), we indicate this editorial change by placing it within square brackets: [ ].

Here are some more helpful tips about the correct way to present quotations:

Always use quotation marks to indicate that you are quoting directly from the text. Always include the page number on which the quotation can be found. Always comment on the quotation you have chosen, showing how it supports your argument. A quotation thrown into the middle of a paragraph without supporting commentary tells us very little, as it cannot speak for itself. (iii) Paraphrase

Many students fall into the trap of retelling the story, or paraphrasing (repeating something using different words) the text. This exercise can be helpful in making us understand a story and the events that take place, but it tells us very little about how the text works, which is our main purpose in writing about literature. Look for further notes on paraphrasing in A Beginners Guide to Writing an Essay (Tutorial Letter 301). Remember that your tutor has read and understood the story, and does not want to have the story repeated to him or her!

(iv) Errors in language usage All of us make errors in language usage at some stage, and I firmly believe that none of us wants to speak or write poor English. As teachers of English we have a responsibility to ensure that our own English is one that we would be proud to hear our students and pupils imitate. Therefore, we must try to express ourselves as best we can.

(b)
1.

The exercise questions

(a) The writer of a short story has little space in which to develop a character, and must create a certain impact in the very first lines of the text. This is exactly what happens in 'After Twenty Years'. Here is an example:

The first two paragraphs give an impression of a man who commands respect and admiration and who is dedicated to his job. This impression is gained from the use of words such as 'impressively', 'watchful eye' and 'stalwart form' (p. 33) used to describe him. Despite the unpleasant weather and lack of people, he still carries himself with pride and dignity, taking his time to check that all is well in the area under his watch. A man less concerned with his job may have hurried down the street, perfunctorily checking the neighbourhood before seeking a warm, dry place to spend the rest of the night.

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This is a successful answer because it focuses clearly on the question substantiates its claim by quoting directly from the text pays careful attention to detail makes good use of vocabulary (note the student's use of the word 'perfunctorily': look it up in your OALD if you do not understand it) supports the opening, 'topic' sentence. (b) You were probably divided in your opinions about whether the early impression received of the policeman is supported or contradicted by later events in the story. Some of you may have indicated that the ending of the story is ambiguous (may have more than one meaning), which I think is probably the best response! Two different points of view (one positive, one negative) about the policeman's decision to have Silky Bob arrested can be summarised this way:

Positive Jimmy is consistent: the careful, meticulous man at the beginning of the story is equally meticulous in ensuring that Silky Bob is arrested. The care Jimmy takes in checking each door along the street is repeated in the care he takes in ascertaining the identity of Silky Bob.

Negative Jimmy initially appears honourable in his sense of duty, but this fails to extend to his humanity and sense of friendship: he betrays Silky Bob. Jimmy meanly and deliberately conceals his identity, thereby prolonging the arrest of Silky Bob, and allowing his friend to betray himself. In spite of his appearance as manly and confident, by sending another policeman to arrest Silky Bob, Jimmy reveals himself to be cowardly.

Jimmy's 'swagger' and confident appearance are consistent with the assertive yet sensitive way in which he deals with Silky Bob.

You may feel that it is impossible to choose between these two points of view, and I would agree with you. It is not always possible for us to give a straightforward answer when writing about literature, which is, indeed, often ambiguous. But whatever answer you offered, you would have done well if you supported your argument clearly and logically. (NOTE: for the sake of clarity, I have indicated the two conflicting arguments here in point form, in a table; however, it is important that you present your answers in properly structured sentences and paragraphs.)

2.

I mentioned earlier that the writer of a short story has limited space in which to create a picture in the reader's mind. One way in which he or she can successfully create this picture is by sketching a vivid backdrop, or setting against which the events of the story take place. Most of you will have noted the fact that the story opens on a cold, windy night with the promise of rain, suggesting that the story will be about something serious, even sinister. The emptiness of the street draws attention to the appearance of the main characters, in particular to Silky Bob, whose striking of a match serves both to turn the spotlight on him and to determine the events that follow. I certainly enjoyed reading and writing about this story and so, I think, did you. I am always delighted to hear that a student enjoys the experience of reading a text, because I believe that if we take pleasure in the activity, half the battle of writing about it is won! In particular, the 'twist in the tale' of the story when the policeman's identity is revealed to be that of Silky Bob's friend, Jimmy Wells had a great impact. Many of you were, I guess, attracted (as well as puzzled!) by the ambiguities presented by the end of the story. I thought you would be interested to read one of your fellow students account of her feelings about 'After Twenty Years' (written a year ago). Once again, note her good use of vocabulary, the well-reasoned logic of her argument, and how she justifies her opinion that the text has a significance that extends beyond the events themselves. I thoroughly enjoyed the story. I found myself impressed by the depiction of the policeman as a man of high moral character and loyalty to his undertaking to uphold the law. Although I understood that the policeman was not introduced into the story on a whim, but was obviously central to the plot, it still came as a surprise to observe the turn of events that took place that night. I had supposed that the 'tall man in a long overcoat' (p. 36) the undercover policeman was Jimmy Wells, and I was touched by the deception that Jimmy had arranged to avoid being the officer arresting the friend of his youth. What saddened me a little was that the criminal's faith in his friend's constancy and his eagerness for their reunion were factors which led to his ultimate downfall. I couldn't help feeling that their friendship would have been better served if the policeman had tried to turn his childhood friend from his criminal ways. This could raise an interesting debate on the merits of rehabilitation as opposed to incarceration a very topical subject. The Suit When we read 'After Twenty Years' we came across an ambiguity concerning the wisdom and justice of Jimmy Wells's treatment of Silky Bob. In Can Themba's 'The Suit', we are faced, once again, with an ambiguous situation. This time, the story makes us think carefully about Philemon's behaviour towards his wife: is he justified in his anger, or does he go too far? Does Tilly's punishment fit her crime, or is it excessive? Do we lose sympathy entirely for Philemon in this story, or do we retain some pity for him in his plight (a serious and difficult situation or condition)? It is difficult to answer these questions categorically (in a clear and definite way). However, these apparent difficulties, these grey areas of interpretation, should not be regarded as stumbling blocks that prevent us from writing convincingly about the story. On the contrary, ambiguities give us something to discuss, something to get our teeth into (look up this idiomatic phrase in your OALD). This exercise was intended to take you a little further into the challenging activities of reading, thinking and writing about literature ambiguities and all.

3.

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1.

(a) In your definition of the term symbol, it would have been preferable if you had, as far as possible, used your own words to describe what is meant by this term, rather than simply copy the definition from your dictionary. Similarly, you should try to find your own examples of symbols, rather than those listed in the OALD. If you can express a meaning in your own words, this shows us that you definitely understand the term. Your answer might have read something like this: A symbol is usually 'an object or image' (OALD) that represents something else. For example, a red cross on a flag or ambulance tells us that it belongs to the Red Cross Organisation; a panda bear is the symbol of the World Wildlife Fund; a circle with a cross below it () symbolises the female and a circle with an arrow () represents the male. These are all commonly accepted symbols; however, in literature, a writer may create a symbol which comes to have a particular meaning in the context of the story, such as the suit in Can Themba's short story of the same name (you could also provide one or two examples from other texts that you have read recently). (b) Many agree that the suit in Themba's story could be called a symbol. However, explaining why this is so presents some difficulties. You needed to think carefully about what the suit symbolises, whether what it symbolises changes in the story, and whether it represents different things to the main characters. Before you write down your answer, it is important to plan the direction your response will take. Remember that even a short response requires you to formulate your ideas carefully, to express them in complete sentences and proper paragraphs, and to support your comments by referring to the text itself. See how many of the ideas suggested below appeared in your answer (you may have had some other ideas, too). Also see if you can identify the introduction, the four topic sentences and the conclusion of this short essay.
In Can Themba's 'The Suit', the suit left behind by Tilly's lover becomes a symbol of her infidelity and of the unhappiness her actions cause both Philemon and herself. However, this symbol does not remain static [unchanged] but subtly alters as the story progresses. In the agonized moments of fury and horror that Philemon experiences when he sees Tilly's lover fleeing the bedroom, Philemon also makes a decision that will have grave consequences for himself and his wife. He decides to use the lover's suit as a constant reminder to Tilly (and, ironically, to himself) of her infidelity: it becomes an unpleasant symbol of her betrayal of their marriage and trust. This symbol is so effective a punishment that, keenly aware of its power and effect on his wife, Philemon turns it into another inhabitant of their household, demanding that it be given a place at mealtimes (p. 142), that it be taken with them on an 'outing' (p. 143), and referring to it as 'our visitor' (p. 143), the 'guest of honour' (p. 146) and 'old chap' (p. 144). It is at this stage that the reader notices that the suit has become a symbol of more than just Tilly's infidelity.

Philemon's preoccupation with the suit and what it symbolizes becomes so obsessive that what it represents changes subtly in both Tilly's eyes and the eyes of the reader. It also becomes a symbol of Philemon's cruelty, and his inability to overcome the considerable power he is able to wield over his wife through its use. Tilly suffers a 'breakdown' (p. 143), feels 'degraded' (p. 144) and feels that Philemon's use of the suit as a symbol of her infidelity is a 'hot poker down her throat' (p. 147). On the one hand, Themba's vivid descriptions of Tilly's agony force the reader to think about the appropriateness of her punishment. They also, however, make the reader aware that, ironically, the symbol of the suit has started to work against Philemon, exposing him as a cruel tyrant. With Tilly's death at the end of the story, the suit's symbolic value as a representative of Tilly's infidelity has almost disappeared, and its power as a symbol of Philemon's cruelty is reinforced. While no mention is made of the suit in the closing paragraphs of the story, the reader is left with a keen awareness that the suit will serve as a painful reminder to Philemon of the cause of his wife's misery and death. The symbol of the suit in Themba's story begins as a representation of Tilly's infidelity, but ironically turns into a symbol of Philemon's betrayal of the limits of marital power and human justice. So central has this changing symbol been to both the characters and the tale that it is not surprising that it serves as the story's title. Bibliography
Themba, Can. 'The Suit'. The Fiction Factor. Edited by David Levey. Pretoria: UNISA, 1990.

2.

(a) Most of you are familiar with the history of Sophiatown but if you were uncertain about the precise details you needn't be too concerned. The question asks you 'What do you know of the history of Sophiatown?', so you were not forced to do any research on the topic. Nevertheless, it is an important aspect of a university education that we involve ourselves in independent study beyond what our lecturers require of us. Learning how to use library resources is a vital academic skill!

Sophiatown was a slum near Johannesburg during the 1950s. It was unusual in that, unlike most townships and suburbs in South Africa, both black and white people lived there in relative harmony. It was a place in which artists (writers and jazz musicians in particular), intellectuals and gangsters were especially active. However, this melting pot of race and cultures was frowned upon by the apartheid government of the time, and with the passing of the Group Areas Act of 1950, Sophiatown's fate was sealed. Its black residents were forcibly removed to Meadowlands in Soweto, and the suburb became restricted to whites and renamed Triomf.

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You might be interested to read a first-hand account of Sophiatown by one of it most wellknown inhabitants: writer Don Mattera, who spent his early adult life as a Sophiatown gangster. Here is an extract from his autobiography:
The yards were small and stinking .... And you would find a man or woman lying drunk in the grime and slime and debris, breathing the foul air of a dispossessed and forsaken life men and women robbed of those vital fibres that divide man from beast. There were times of searching for a loved one in some alley; finding him or her in a hospital or jail, or dead in a morgue. Or checking for a husband or father, a brother or a son who had never returned home from work. Or waiting for a mother, an aunt or sister who did not get off the bus or tram where you usually waited for them. Then the anguish and anxiety that would follow reports of a woman raped, beaten and robbed by the jobless and won't-work brigades of tsotsis who owned the days and ruled the nights. This was Sophiatown, the Kofifi of the majietas (cityslickers) and of the moegoes or bar-rees (greenhorns). Life there was interestingly challenging and dangerous. Sophiatown, the city of many faces: kind, cruel, pagan, Christian, Islamic, Buddhist and Hindu, and the face of what was called Law and what was made Criminal. Each face told its own story; held its own secrets and added to the book that was Kofifi the little Chicago of Johannesburg.2

2.

(b)

Does the information supplied above about Sophiatown affect your reading of 'The Suit'? There seem to be two quite different points of view on this question. Some students are of the opinion that while information about the history of Sophiatown makes the setting of the story seem more familiar, the story could stand alone without this information. They feel that the story was about human behaviour that would be of interest were it set anywhere in the world. Another group of students feel that the setting was significant: that Sophiatown's tradition of physical violence makes Philemon's refusal to punish Tilly by beating her, unusual, and that Philemon's behaviour seems less extreme when viewed against the social and emotional pressures of living in poverty. What point of view did you express? I think both arguments have merit: just remember to support your argument fully and logically.

3.

This question asks you to repeat the exercise you performed earlier (Section A, 1(a)) in which you were asked to look carefully at the opening paragraphs of the story and attempt to draw a mental picture of the person described there. You also had to assess whether the change in his manner later in the story is convincing. Once again, you will need to substantiate your impression of Philemon by quoting directly from the text (see the opening pages of this tutorial letter).

Don Mattera. Sophiatown: Coming of Age in South Africa. Boston: Beacon Press, 1987, p. 50. This book is available in the UNISA library, although not in the Study Collection.

In the opening paragraphs of 'The Suit', we are presented with a man who seems very satisfied with his world: Philemon wakes and 'grin[s]' and gives thanks for the 'goodness of life'. He seems particularly in love with his wife, taking care not to disturb her sleep and admiring her 'pure beauty'. So absolute is his contentment that the reader would expect any change to this blissful world to cause havoc in Philemon's sense of order and security. The change that Philemon undergoes later in the story, when he discovers his wife's infidelity, is indeed extreme. It is, however, quite convincing, as the reader is persuaded that his contentment, happiness and (perhaps) complacency have been shaken to the core.

4.

You will find information and help about narrators in Leading Questions, pp. 106-112.

The narrator of 'The Suit' is a third-person narrator: he or she is not directly involved in the plot and is able to express the thoughts, feelings and opinions of all the characters in the story. This does not mean, however, that the narrator is entirely objective, but may concentrate upon one of the characters in order to influence our feelings and reactions. For example, the narrator's detailed expression of Philemon's agony when he discovers his dead wife renews some sympathy in the reader for his character. Similarly, the fact that the narrator does not show us Tilly just before her death, and does not let us know what she is thinking, makes her death appear even more lonely and pathetic. This thirdperson narrative of 'The Suit' is, therefore, particularly suited to the ambiguities created by the events in the story.

5.

This story evokes many different reactions! Some of you may note that the story made you feel sad, frustrated and even annoyed. Some students may express their disgust at Philemon's behaviour; others feel that Tilly was weak and should have rebelled against Philemon's treatment. What is particularly interesting, however, was that while these feelings are not necessarily pleasurable ones, most of you tend to enjoy the story. This goes to show that we can read a text and appreciate the skills and talents that went into its creation, even if its subject matter is unpleasant or disturbing.

I have thoroughly enjoyed working through The Fiction Factor with you and hope that you have found my tutorial letter interesting and helpful. Most of all, I hope that I have given you some idea of how rich and satisfying an experience reading can be.

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Feedback on Self Assessment Exercise 2: FOOLS by Njabulo S Ndebele

Ndebeles text allows the reader to join Teacher Zamani as he progresses towards an acknowledgement of his role in educating learners to develop their own critical, social and political consciousness. In an article entitled Rediscovery of the Ordinary3 Ndebele has stated that the transformation of values constitutes the essential drama in the lives of ordinary people (1984:53). In addition to your reflections on the values that should guide education in the classroom, you should undertake to describe the transformation of Teacher Zamanis values both as an educator and as a human being who gradually develops the ability to confront and deal with the darker side of his character.

SECTION A
I suggest that you start off by placing the extract within its context in the novel. After reading through the question very carefully, begin by underlining words and phrases within the given extract and refer to these in order to enhance your argument. Try to construct a mind-map and then develop an outline of the essay, so that you can be assured of a cohesive structure. There is a large amount of information in the novel on the development of Zamani towards selfrealisation. However, if you had kept the keywords of the question in mind whilst planning and writing the essay, you would have correctly paid particular attention to Zamanis role as an educator. As you will have noticed, the given extract from Fools highlights the fact that Zamanis conduct and attitudes typify him as an anti-hero whose behaviour is full of contradictions and is often marked by polarities. [Refer to Bheki Petersons discussion of Zamani as an anti-hero on page 112 of the novella]. Like many individuals, he has to contend with the conflict between the forces of light and darkness, and is compelled by circumstances to make a decision about which force he will finally choose to align himself with. In his comments on a short story by Joel Matlou, Ndebele comments that the significance of the story lies in the fact that the writer has given us an honest rendering of the subjective experience of his character (1984:53). Ndebeles representation of Zamani as a multi-faceted character who is both a victim and a victimiser thus allows readers (especially those of us who are educators) to grapple with difficult moral issues, thereby enhancing our ability to respond critically to the aesthetic, cultural and emotional values embodied in the novella, in keeping with the requirements of Language Learning Outcome 3.

Ndebele, Njabulo. 1991. Rediscovery of the Ordinary: Essays on South African Literature and Culture. Johannesburg, South Africa: Congress of South African Writers.

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Ndebele often makes use of the flashback technique in the writing of the novella, and there are therefore many different ways in which you could have structured your essay. Your opinions will always be considered to be valid, provided you adhere to the requirements of the question and substantiate your response with relevant quotations from the text. The following essay, submitted by one of the students, encompasses many of the relevant points:
The given extract from the novella is directly linked to Zamanis experiences as an educator. Zamani had emerged from Ohlange Teacher Training School with ideals which were very similar to young Zani Vuthelas. During their first meeting, the young man reminds him that, as a newly-qualified teacher, Zamani had been full of new ideas, and dying to change the township and put some life into it (17). His disillusionment with the church and the educational systems allows the teachers dark side to emerge, leading to the drunkenness and debauchery that symbolize his loss of self-respect. His approach to teaching and learning within the Bantu Education System is encapsulated in the words: What social compulsion was there for a teacher to be exemplary? And the school: it was a place at which our children were groomed to give away the whole energy of their lives to something other than the dream of their history (p. 43). One of the ways in which he had expressed this self-loathing in the past was in his excessive use of corporal punishment. Nicknamed Panyapanya for his excessive blinking, he had been accustomed to using his cane, ironically named Happy Days, to punish his young learners. Although this method of enforcing discipline was considered very normal amongst teachers at that time, Zamani acknowledges his brutality in an episode when a few of the learners misbehave in the classroom. He states, In the old days I would have whipped the whole class (p.45). This conscious movement away from the abusive treatment of his learners comes after he experiences remorse and a huge amount of self-recrimination following his rape and impregnation of the schoolgirl Mimi. In a previous encounter with Principal Lehamo, Zamanis History lesson had been interrupted as he was summoned by the principal and severely reprimanded for not adhering to regulations in his office. Zamani had chosen to walk out of the office whilst he was being screamed at, and had decided to continue teaching his History lesson. He asked the learners to put away their History textbooks and to close their eyes and reflect on the glories of the past as African people. He did this in an attempt to instil feelings of self-pride and a love in them of their unique identity; to encourage them to refuse to submit to the notion of inferiority that was being thrust upon them. The words, I felt a glow of love for them (p.25) portended Zamanis departure from his normal demeanour in the classroom, indicating his slow development and movement towards the light of self-knowledge as a human being and as an educator.

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EED102G/104/2 The episode in the given extract occurs after Zanis visit to Zamanis classroom. In accordance with school regulations, Zamani would have been expected to dismiss the uninvited visitor. Instead, Zamani encourages an enthusiastic chorus of voices to recite a refrain that is very familiar to them; namely, that knowledge leads people to the light of truth, which in turn enables them to become leaders. He then hands over the class to Zani, who attempts to educate the learners about the implications of the Day of the Covenant. On seeing Zani, the principal, Mr Lehamo, enters the classroom and orders him to leave immediately. He demeans Teacher Zamani by loudly reprimanding him in the presence of his learners and then informs him that he would be reporting the incident to the school board. After the principals departure, Zamani clarifies his own growing commitment to his role as an educator by addressing his learners directly with the words My children (p.51). He uses the metaphor of a long, unending train to describe the learners journey through life and reiterates that the most valuable lessons are learnt from experiences outside the confines of a classroom. The protagonists newfound optimism that social and political liberation are not too far off finds expression in his statement to the learners that ...one day when that school out there is brought into [the] classroom forever, you will know the train of years has passed and it is time to go on with the journey (p.51). He believes that, after the attainment of freedom, a knowledge of good values and important life-skills will enable the learners to go on with [their] journey (p.51) towards personal empowerment and true liberation. The words No, I would not keep them, let them go home (p. 51) at the end of the given extract indicate Teacher Zamanis progress to a more easygoing, committed and caring attitude towards his learners, an acknowledgement that they had been taught their first real lesson on social and political survival as a result of Zanis visit to their classroom. This episode detailed in the given extract therefore symbolizes a marked contrast to Zamanis past behaviour, which had been largely characterized by an attitude of negativity towards the entire process of education as well as towards himself, both as an individual and as an educator.

NB: You may use a given extract as a departure point for your discussion, but it is also necessary to carefully place the given extract within its context in the novella and to refer to the specific details within it. SECTION B Question 1 Your Study Guide contains a very useful example of a mind-map linked to a character sketch. This mind-map is also presented in a linear form, which includes an introduction, topic sentences for paragraphs, and a conclusion. In planning your essays, please try to use mindmaps as often as possible, as these are a very productive way of pinpointing and elaborating on the many facets of a character or situation.

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Question 2 The principal, Mr Lehamo, does not elicit much sympathy from the reader. Nonetheless, the narrator does not portray him as a stereotypical villain but as a multi-faceted character who has his own fears, insecurities and weaknesses. In referring to the qualities that characterise Mr Lehamo in the mind-map, you should have discussed the three major episodes in the novel in which he features. Once again, you should keep in mind that the feedback in this tutorial letter is not meant to be prescriptive. You were free to discuss the characters as you wished, offering your own unique insights and comments. Remember that constant references to the text act as a sound back-up to the points you choose to make. I feel you will benefit by working through this tutorial letter carefully, looking at it side-by-side with your own responses. If you merely read through it carelessly you will lose out on the potential growth it can offer you.

Feedback on Self-Assessment Exercise 3: HAPPY NATIVES

1. Consult your OALD and provide appropriate definitions for the following terms: (a) stereotype a fixed idea or image that many people have of a particular type of person or thing, but which is often not true in reality (cultural/gender/racial stereotypes). E.g. Kenneths stereotype of Zulu men as warriors carrying spears and wearing animal skins. (b) culture

the customs and beliefs, art, way of life and social organisation of a particular group. (c) 1. 2. native

connected with the place where you were born and lived for the first years of your life. (sometimes offensive) connected with the people who originally lived in a country before other people, especially white people, came there. (d) racist

a person who believes that some races of people are better than others; someone who treats people belonging to a different race unfairly. 2. Coetzee uses Afrikaans as well as profane language (swear words) in this dialogue. In a response of approximately 10 lines discuss what his intention is and what impact this language has on your reading of this particular text.

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The integration of other languages, colloquial language and swear words in this text is in keeping with the realistic depiction of the characters and South African society. In this satirical look at cross-cultural relations, Coetzee attempts to capture our cultural, social and linguistic diversity (as well as our similarities). In using language as authentically as possible, Coetzee is able to make us laugh while acknowledging the difficulties involved in truly understanding both ourselves and our fellow citizens. The new South African identity which these characters are struggling to create is, in part, represented and reflected in the language they use. This cross-pollination, as it were, of languages, which is evident throughout the text, is a very common feature of language usage by average South Africans which the characters in the text are meant to portray. 3. (a) Describe the stereotype of Mto and his Zuluness which Kenneth presents. Consider why Mto might regard it as a stereotype and be offended by it. (10 lines) Kenneths impression of a Zulu is stereotypical in that he calls up an image of the warrior, complete with spear and animal fur. His portrayal of a Zulu also includes ritual slaughtering of animals and ancestor worship and the collection of lobola. It is an image which is instantly recognisable, especially to European investors who hold a specific and ofttimes primitive view of Africa and her inhabitants. The reference to spears, fur, animal blood, cows for a bridal dowry, reading of bones and so forth have served as convenient symbols of what it means to be Zulu, not necessarily for Mto and other Zulus, but more to the point for people from other cultural groups for whom these stereotypes are a form of classification. Mto is justifiably irritated by it because it is a culturally narrow portrayal of his identity as a Zulu. The implication is that simply because he is Zulu, he must fit the Zulu identity as described by Kenneth. It blatantly ignores Mto as an individual who has many facets to his identity. His being Zulu is only a part of his identity. Also, Kenneths view of what it means to be a Zulu concentrates only on those aspects which highlight savagery and primordial, ritualistic behaviour (a stereotyped view favoured by colonialists) and disregards the sophisticated, proud and rich cultural heritage of Zulu society. (b) How does Mto subvert this stereotype? (5-7 lines)

Mto is an educated, young black man who is indignant at being classified according to stereotype. Although Kenneth is a professional colleague, his use of the stereotype indicates that he has very little understanding of Mto as an individual person. Mto, thus, does not fit a neat identity box. His closing comment refers to the changing nature of the concept of lobola. More pertinently, it is an indictment of growing materialism a trend exhibited by many South Africans, regardless of their cultural background. Mtos point is that one should not make assumptions based on anothers ethnicity.

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4.

Coetzee uses the term natives in two ways. (a) Discuss the two ways that the term is employed in this text. (5-7 lines)

In the play, Coetzee uses the term native to refer to someone who was born in South Africa. This applies regardless of the characters skin tone or cultural background. Coetzee makes the argument that the characters are South Africans of equal stature regardless of where their forefathers were born or originated from. He also has the characters use the term native to apply to African or Black South Africans. In this extract Mto and Kenneth are debating the meaning of the term. Kenneth wants their presentation to depict a stereotypical (and, it can be argued, derogatory) image of black/African natives as this is an image that the overseas investors have when they think of Africa. Mto challenges this by pointing out that Kenneth, by virtue of the fact that his ancestors have been in this country since 1664, is also a native. (b) In the light of your definitions of the term, discuss the significance of the title Happy Natives. (7-10 lines)

Coetzees play is an incisive comment on how we, as South Africans, often rely on media stereotypes and apartheid-created misconceptions about people of other cultures. True understanding can only come through interaction and as Hazel Barnes states on the back cover: A willingness to listen, a tolerance of different ways, and a sense of ones own worth are shown to be ways to greater enjoyment of this diversity. As South Africans struggling to define a new post-apartheid identity, we need to break away from this reliance on racial grouping and relate to people as individuals. The Happy Natives in the title thus refers to all South Africans engaged in this process. An alternate meaning, derived from the fact that the play is a satire, is that Coetzee is pointing out that in this period of transition and adjustment, we South Africans are really not such happy natives.

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