Bolaji on the CREST of his creativity

BOOK REVIEW

Book: THE CREST – Omoseye Bolaji honoured in Nigeria (2008)
Author: Flaxman Qoopane
Reviewer: Peter Moroe

This book details the events of a special week in the life of writer Omoseye Bolaji whilst he was honoured in Nigeria for his contributions to African black literature. After a special Book Presentation (of two of his literary works), the events culminated in the conferment of a Chieftaincy title on Bolaji. Flaxman Qoopane, a key writer himself, was invited to Nigeria to witness the events.

The author of this book, Mr Qoopane has done a good job in putting together salient pieces from the special week. He starts with a fine Introduction, and reproduces his formal Invitation to the events. He sets the stage for the Book Presentation which took place at the revered University of Ibadan . He also adds other snippets.

Also included are presentations (critiques etc) on Omoseye Bolaji’s literary work generally, and pertinently on the two books focused on: People of the Townships, and The subtle transgressor. The inclusion of these speeches and essays make this book a valuable addition to the corpus of critical work on Bolaji already available.

Also included is Bolaji’s Vote of thanks at the Book presentation itself – titled THE CREST (from which the title of this book is taken). Once again we have some insights into the shaping of Omoseye Bolaji the writer from a very young age. It is often remarked that since Bolaji is a notoriously private person, it is only once in a blue moon (mainly through interviews) that one gets glimpses into what makes him tick.

And by interviewing the man behind the company that printed the west African books of Bolaji (Kunle Bamidele) Qoopane adds a human face to what many regard as a rather amorphous and soulless business – printing and publishing. Mr. Bamidele in his own way makes literature alive and relevant by talking about books and writing generally in that region.

There is also an account of the “Chieftaincy Day” itself, intriguingly through the eyes of the protagonist himself - Omoseye Boalji. His account is brief and interesting – and personal. But despite this, it is clear that both the author of this work, Flaxman Qoopane, and Bolaji placed much more emphasis on the Book Presentation itself. This fact is important when one considers that in places like west Africa a major Chieftaincy title being conferred on an individual is the ultimate in achievement. Yet Qoopane and Bolaji stay true to their innate instinctive beliefs that the show must revolve around the books, literature itself. After all, without his contributions to African writing Omoseye Bolaji would not have garnered so many awards, or plaudits.

On the whole, Flaxman Qoopane does a good job in this new work (book) of his. Earlier in his writing career, Qoopane published books like A poet abroad (2000), Memoirs of A Cultural Activist (2001), Reneiloe-Mpho’s Story (2002), The Conference (2003) among others. His last book was City of Roses and Literary icons (2007). We welcome THE CREST, his latest book (2008)

Gcina Mhlophe struts her stuff in Bloem!

By Flaxman Qoopane

Dr. Gcina Mhlophe, an award winning storyteller, poet, director, playwright and performer wowed the Free State with her considerable talents in September (2008). She was invited to do storytelling at Botlehadi Primary School in Mangaung townships.

Molaodi Matobako, co-ordinator East Region from the Mangaung Library Services had said: “In celebration of Literacy Week, the Mangaung Local Municipality jointly with the Mangaung Library Services invited the renowned storyteller Gcina Mhlophe to Bloemfontein to raise public awareness of literacy among our children by telling some of her wonderful African tales at Botshabelo Library, Wilgehof Primary School, Fitchard Park library and at Botlehadi Primary School”.

The staff and learners at Botlehadi Primary School, officials from the Free State Department of Education, the South African Police Services and the representatives from the following sponsors: Shoprite/Checkers, Vodacom, Netcare, Pelonomi Private Hospital, Maskew Miller Longman Free State could not hide their excitement at seeing Mhlope live, taking the stage! Indeed she was warmly welcomed by the audience.

She thanked the Mangaung Library Services for inviting her to the Free State to showcase her skills as a storyteller. She emphasized the importance of Literacy Week. “Ideally, it is about reading and writing in all our languages” she pointed out. She shared some of her stories with the audience.

During the occasion, Kananelo Rabele, a Grade One learner at the school read from a book Ntja ya ka (“My dog”) to her school mates in celebration of Literacy Week.

During the programme, the school choir led by teacher Ruta Moses, rendered several songs. A group of Mohobelo Cultural Group entertained the crowd with Sesotho dances. Another cultural group that took part at the event was Tshwaraganang Cultural Group. Invited guests ate and drank traditional food and African beer.

Donald Bojang, Regional Manager of the Maskew Miller Longman in the Free State said: “On behalf of Maskew Miller Longman Publishers, I have brought a box of reading books for Botlehadi Primary School ,” The books were handed over to Lucas Mlamleli, the School Principal, by Gcina Mhlophe – the lady of the moment!

The Subtle trangressor

Reviewer: Peter Moroe
Play: The Subtle transgressor
Author: Omoseye Bolaji (above)
Publisher: Eselby Junior Publications (South African edition)

The Subtle transgressor is a powerful drama, shocking in some respects and with convincing (grassroots) dialogue the author is noted for. The play addresses a number of social issues in this our increasingly sophisticated world. Alas as society advances it appears the moral fibre continues to be undermined. It is a reality we have to face.

The pressures assailing the young can be clearly seen in this play – especially young ladies. They become aware of their sensuality and attractiveness to members of the opposite sex; they have their own desires and foibles; for those from rather poor backgrounds (as the protagonist Kate is) the pressures multiply even further. There are many men and “boys” out there ready to take advantage of them, realizing their vulnerability.Needless to say a young woman (note that the play focuses not only on Kate but her two close female friends too) must “take care of herself” – she needs the basics, including toiletries; nowadays many of them hanker for “airtime” “credit” for their mobile phones.

The “sugar daddies” swoop in also. It goes on and on.In this play Kate’s father Job initially comes across as a man battling against odds to “discipline” his daughter, maybe teach her some values in life. That he goes as far as stabbing her (!) smacks of some sort of desperation. In the modern world with so many rights, this could have led to punitive measures for him if Kate had for example reported the matter to the Police. But she does not.Hence we realize that there is some sort of intriguing relationship between Kate and her father Job. Other characters like the loquacious “Uncle” contribute to the particular ambience of the play. Kate certainly seems to understand her father well – a man who frowns upon his daughter’s closeness not only to “boys” but also to her best female friends.

There can be no possibility that Kate would desert her friends. Or vice versa.As characteristic of Omoseye Bolaji’s fiction it is only at the end of the play that we realize that Job has been abusing his own daughter sexually since she was a kid! This extraordinary revelation is presented quite convincingly with Job being utterly humiliated, but hardly punished for his deeds. We now realize that he is doubly guilty of abuse – not only has he stabbed her with a knife, but had abused her sexually throughout her young life.Job is the ultimate hypocrite: his trenchant outbursts - claiming he is “principled” and only out to foment discipline in his daughter assumes a very hollow ring.

He is a villain: an authentic subtle transgressor. And what about his poor abused daughter? Is it not likely that she would always feel inadequate, somewhat depressed and traumatized? Under the circumstances we can only but admire her feisty attitude and character.We live in an age where the young ones (particularly females) are subjected to terrible things. We are not only thinking of rape or domestic abuse at home, but with increased reports of “date rapes” – e.g the male “spiking” the drinks of a female to render her unconscious and then going on to rape her; sometimes with a gang rape of the hapless female taking place… it seems as society becomes more advanced women become even more vulnerable.

The subtle transgressor tries to address some of these societal problems from what one might call the “tap root” – incest perpetrated by a father on his own daughter. In other words a dysfunctional background for a young female – what prize that this traumatic experience would not follow her around even as she grows up?

Sundry Free State poets

(Lechesa is author of the following books, to mention but a few, Evolution of Free State Black Literature, Four Free State Authors, and The Legacy we leave behind…)

A proliferating number of people - and I have in mind, essentially, people from the grass root; from the townships - love poetry. This elementary fact is easily confirmed by considering the incredible amount of people we know who read and write poetry, be in the mother tongue, or other mainstream languages (including English).

In this article I should like us to zero in essentially on those who have carved a niche for themselves as poets in the Free State. The late multi-faceted Gilbert Modise was an excellent poet, many believed. What made him a household name in the Free State was the bombastic and grandiloquent language he employs in his writings. He combined the literary creativity with political craftsmanship, which is a rare talent. His major work of poetry is entitled, An Eye Sore.

It has become something of a cliché to mention that when it comes to written literature Mr Omoseye Bolaji belongs to a class of his own and astonishingly has his finger in almost all the pies. He is respected for being the “self-less creative maestro that excels in all the trades he is in.” He also has a unique power to unlock the creativity in any writer that he comes across. What do we think of him as a poet, or “occasional poet” as he prefers to be called? Too often than not, he has been asked by people who love his writings: “Why don’t you write poetry, Bolaji?” It is understandable because he has published lots of books of fiction. To mention but a few - Impossible love, The ghostly adversary, Tebogo Investigates, Tebogo’s spot of bother, people of the townships, The Guillotine, etc.
“Most readers would assume I am not into poetry. But I do like poetry, and have actually published two different collections of poems, titled Snippets and Reverie.” commented Omoseye Bolaji on his poetic artistry.

But one has to admit that even though he does not see himself as one of the “specialist poets” people whose very essence seems to be synonymous with poetry itself, he is to many of us poetry lovers an excellent poet. One of the well known critics Peter Moroe once wrote: “Bolaji’s poems are not of quick fame easily understood variety; they are often condensed, distilled from African proverbs and a philosophical mind remarkably expressive in English.” I will now quote some lines from one of his much anthologised poems, THE ROAD:
“A heart rending noiseReminiscent of grating ululationsRedolent of abrasions. LesionsBanshee screechings and screamsInterspersed with persistent metallic shriekingInvoluntarily jerking the car to a halt…”
When you talk of ‘specialist poets’ the name that immediately springs to mind from Mangaung is Job Mzamo - he writes fresh poetry virtually daily, with effortless rhymes! Incidentally Mzamo’s poetic artistry is dominated by frequent outcry against the societal injustices or rather anything that frustrate him.
“Frustration got me started … I decided there and then that I will vent out my frustration on paper.” says Mzamo.
Teboho Mohanoe is one of those outstanding young poets. Mohanoe’s book is titled “Enter the night.” The literary pundits (like Omoseye Bolaji in his book, Thoughts on Free State writings) generally claim that Mohanoe is a polished versifier, reminiscent of the great Dambuzo Marechera.

This is what Job Mzamo had to write in his introductory note to Mohanoe’s poetry: “Mohanoe’s poetry is lyrically compelling… his use of metaphors, similes, comparisons, and contrasts is out of this world.. his poems bubble with imagery and fresh ideas.. pricking the imagination.. (this is) a tapestry of colourful words woven into sweet sounding poetry…”
Lebohang Thaisi used to be hailed as the whiz kid of black writing in the Mangaung townships. He started writing the poems since his school days. He got fortunate to publish his first book, Voice from Mangaung at the age of 22. One can see that when he wrote these poems Thaisi was still poetically developing at that stage and with limited confidence. This poem entitled “Thank you” reveals this lack of confidence:
I am not a poet (yet)But I love poetryI am not a poetBut I love playing with wordsI enjoy the rhythm and vibrations
Worth noting about Thaisi is his love of literature - he loves reading avidly. He is to me far and away one of the great literary activists in the province. Thaisi’s book of poems is A Voice From Mangaung. Tanki Phafoli was also lucky to get published at a very early age … but like I have said before the flip side of publishing young is immaturity, which is crystal clear in Tanki’s book. For example, so many established writers like E’skia Mphahlele when looking back at their first books they feel ashamed of themselves as they detect immaturity. Yet Phafoli’s debut poetry book, TAKE A LOOK INSIDE is promising. It is said that Leslie Sello Tlhabane is one of the outstanding poets in the Province. He has in fact published a book of poems, called RESPONSIBILITY -lyrical poems of simplicity.

The legendary Flaxman Qoopane cherishes his reputation as a poet, though he has published general books. Omoseye Bolaji refers to Flaxman as a poet “ Internationally recognized, known for his simple and moving poetry.” Bolaji’s statement is partially true, but the anthologies containing Flaxman’s poems are not easily accesible, and few know about his poems. Also worth mentioning is kgosietsile Dintlhoane who is a respected poet and former literary columnist in the Free State news. His poetry has been anthologised in national and international publications. For example, in THE HOMELESS, he empathisised with the poor of the earth. Note such lines as:
We see them- we pass themin our every day lifeLike they were monumentsThese lonely hungry ones-We see themCoughing-We pass themDyingAnd still find time to laugh-
This reminds me of one Thaisi’s poem that is written in this vein. It is entitled, Abandoned 1:
They are abandonedThrown to the streetCorners of big cities…When the nights come tous it means warmthWhen it comes itbrings anguish to them

Raselebeli “Magic” Khotseng is famous in Mangaung for his prolific poems. He is liberally
published in the local newspapers, magazines, and journals. He intends to publish a book of poems soon, having warmed his way into thousands’ hearts with poems like “The warp and weft of Celtic supporters” . Looking at the picture nationally, most lovers of poetry are familiar with Mongane Serote, Mzwake Mbuli Jeremy Cronin, new sensation Kgafela oa Magagoli and Es’kia Mphahlele etc Let us look at the accomplished African poets briefly too. Wole Soyinka, Dambudzo Marechera, Lenrie Peters-these are polished, world-class poets.There are many others Kofi Awoonori, Niyi Osundare, Ben Okri (a great, great novelist too) Jack Mapanje… these masters have influenced our local poets a great deal. On a global level, we have heard about the all-time greats-Shakespeare, Tennyson, Woodsworth, Blake, T.S Elliot, and H Lawrence. Most of Eurocentric poets are prolific that we wonder how humans could produce such tomes. And this is a lesson for we Africans, pertinently African writers. Too often we become satisfied, contended after producing certain works. We preen ourselves, reveling in at best, partial exposition of our talents. Yet, as Wole Soyinka first black African to win the Nobel Award for literature points out:
“Complacency is a dangerous thing… there is the eloquent shrug of the shoulder…. Which prevents us from reaching anywhere near our potential.’’
On the face of it many African poets have allowed complacency to ensnare them. They are still basking in the glory of their first previous, tentative poetic attempts. The advent of spoken word or slam poetry as it is commonly known has made us witness the mushrooming of poets in every society. Which is somehow good as poetry is no longer seen as a boring classroom subject. Poets are writing in a simple language that people can identify with. If you are into serious poetry you might be disappointed when listening to these poets. As we have seen, in Free State there are burgeoning poets, to mention but a few, Charmaine Kolwane, Gama Mdluli, Mosili Mohlakela, Alice Makhulu, Tikoe Moshoeshoe, Mpho Ranoha and Pulane Moiloa the granddaughter of the late seSotho literary legend J.J Moiloa. They should look forward to a long, fulfilling, accreting “Career” in writing poetry, because it is a veritable passion for them. Poetry is, without any shadow of doubt, an integral part of their beings.

They are the type of bards with the compulsion to grab a pen and paper, and start scribbling away, with gusto. I should also mention Tiisetso Makhele whose debut book of poetry has just been published by Phoenix Press- Ladybrand. Makhele is a skilful poet who started writing striking verses when he was only 16, in 1996. It was then as a teen-ager, that he made waves after garnering a CNA award for poetry. Yet for many years afterwards, he seemed to go off the boil. His book entitled , Writing on Fig Tree, illustrates the rare talent that set him apart as an erstwhile literary whizzkid. It is incongruous and extraordinary that this is his ever-published book of poetry. As he says: “Many literary pundits were quick to write me off, but this collection will answer those who might believe these are the last kicks of a dying horse!” We hope to see more of this talented poet. In this article, I have tried to outline the contribution of Free State writers at the grassroots level to mainstream poetry. Lovers of poetry across the board are welcome to send their comments!

REFERENCES
1 Thoughts on Free State writings. (Book) By Omoseye Bolaji
2 The Poetry of Lebohang Thaisi. (Article) By O Tshabalala
3 The poetry of O. Bolaji. (Article) By Peter Moroe
4 Freshness in Mohanoe’s poetry. (Article) By Omoseye Bolaji