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Elliot Ziwira @The Book Store
WORDS are a powerful weapon to dissect and perforate Man’s seemingly impenetrable heart, whose voyeur derives excitement from trauma and suffering.
Unlike missiles or nuclear weapons that are mass destructive, and whose possession or purported ownership, begets fear, deceit and deification, words perforate the hardest shell that makes up Man’s fortress, which gives it a formidable outlook; not to destroy per se, but to deface the heinous apparition fore-fronted, so as to expose the inner man, whose inherent virtues foist a peaceful, tolerate, harmonious and corrigible world.

Where might fails, words are sacrosanct, for they can neither be blocked nor ignored. Words can turn granite to gold, pebbles to diamonds and monsters to angels; they only have to be in the custody of a wordsmith, who can smelt, chisel, hone and hammer them into place. In adept hands, words melt hearts, change lifestyles and inspire the daring, but if not taken good care of, they can really be a nuisance with the same negative impact as the positive.

The reading of the poetry anthology, “Shoko Harivikwi” (2013), edited by Paul Mushumbi and published by ZPH Publishers, purveys the essence of words over mere rhetoric.

The book is a combined effort of nine of the emerging crop of Zimbabwean poets in the Shona language. Although the styles used vary, the pervading atmosphere evokes a plethora of feelings that stitch up human experience. The poets converge on the familiar turf of being, which creates a feeling of déjà vu for the gleeful, and that of despondence for the burdened; yet they remain united in their mortal consciousness. They are all capable of hurting inasmuch as they are prone to hurt and unrequited love; and death, the leveller, awaits them at the periphery of their dreams.

The themes portrayed capture individual struggles that permeate existence in a cosmopolitan world, which precludes the norms that should be adhered to, for the benefit of a shared discourse.

Solomon H. Munorevesa’s poetry pokes at the baneful nature of individualism, materialism and intolerance. His opening poem “Chashaikwa” lambasts the dearth of commitment in matrimony, which is destructive to the family unit, and reflects on the national discourse. As parents play truant on the matrimonial base, driven by irresponsible carnal desires, their off-spring suffers emotional and psychological breakdowns, as they are thrown at the deep end. The poet advocates love at both personal and national levels to arrest the malaise and paralysis at the core of the national psyche.

This rationale also obtains in “Ukama” as the poet implores the individual to desist from thinking only of himself/herself, for this is not what strengthens relationships.

In “Tauriranai Zvipere” Munorevesa lambasts violence as a way of settling disputes, as this leaves in its wake a trail of broken limbs and hearts. Violence in all its forms; domestic or political cannot be condoned, because innocent by-standers are always caught up in its web.

As the people’s poet, he admonishes the youths to desist from experimenting with sex, drugs and alcohol, as they will be exposing themselves to sexually transmitted diseases like HIV/AIDS, premature ageing and death. Indulging in both fornication and adultery robs the holy matrimony of its sanctity. He also takes a swipe at laziness, especially in the youth and women, who depend on others for their upkeep, instead of working hard to improve their lot.

Trust Mutekwa examines among other issues, the significance of familial ties, honesty and hard-work. In “Kureva Zvazviri”, he highlights the sacredness of honesty in fostering strong relationships. Flattering to the poet, is as destructive as prevarication, and therefore should never be used as a smoke-screen to hoodwink others.

The poem “Tsvimbo neDohwe” depicts both the denotative and connotative nature of betrayal. At the denotative level, the poet ponders what would happen if everyone simply stands at the sidelines to witness an unknown outcome, instead of proffering some form of export on the situation, as a way of determining the aftermath. Connotatively, he reflects on the destructive nature of the wait and see attitude pervading the African experience, where diseases, sponsored wars and poverty are the order of the day. Africans should honour their own heroes, and be wary of puppetry.

Like Munorevesa, Media Mugandani highlights the importance of the family unit in moulding the individual, and implores the same to rise above expectation to raise his/her own bar. “Mwanasikana” demystifies the notion that women should merely bear children and wait for their husbands to fend for them. She warns the girl-child to be on the look-out for predators that prey on the vulnerable, molest and leave them for dead.

The world has since evolved, and women can dare men to any occupation, provided that they change their mindsets; instead of simply reducing themselves to sexual objects and child-bearing machines. The emancipation and oppression of women on the basis of culture and religion, also find base in “Mudzimai”.

The poem “Vabereki” beseeches parents to raise their children along laudable societal dictates that shape them for their future tasks as leaders, visionaries and parents. Also, like Munorevesa, Mugandani glorifies divine intervention in mitigating the vagaries of nature on Man and his environs. No matter how much he suffers, Man’s spirituality will always take him to a better landscape, devoid of pain and lack.

Alex Chirumbwana uses imagery and symbolism drawn from nature to explore Man’s relationship with his fellow men, himself and his environment. This is especially so in the poems “Dai ndiri Kamba”, “Rwaivhi”, “Dai ndiri Shiri Zvangu”, “Rwizi” and “Chitima”.

He also visits the thorny issues of love and marriage. The futility of life and the finality of death, which are central to the anthology, do not escape Chirumbawana’s surgical blade, as they are explored in the poems “Mamutora”, “Rufu Rwemhandara”, and “Manditema Midzi Yangu”.

Death, which according to Shakespeare is a necessary end, though painful to those left behind, is inevitable, for in life we live with it. However, in African societies, it is widely believed that no death occurs naturally, because of witchcraft and superstition. The demise of many a young girl like Sara in “Rufu Rwemhandara” is borne of witchcraft, culminating from avarice and jealousy. In the end though, those that bring death on others, either through sorcery or violence; domestic or political, will face the same fate.

Ushehwedu Kufakurinani’s poems illuminate the darkness in Man’s heart which is excited by suffering and despondence in others. He takes a swipe at laziness, avarice, deceit and fear of the unknown as impediments to progress. The poet bemoans lack of will as a cancer that stagnates development; especially so on the part of the supposed torch bearers, who should shoulder to the wheel of the nation’s Fortunes.

The concepts of culture, resilience, decolonisation of the mind, the rule of law and national pride in African societies find prominence in Alouis Tineyi Sagota’s poetry.

The other contributors are Blessing Magodo and Jesca Rushwaya-Marwiro.

On the whole, the anthology is a great read, as it captures the obtaining issues that weigh down on regeneration and progress; and give impetus to new collective outcomes devoid of individualism, corruption, deceit, laziness and hypocrisy.