SARAH MKHONZA

By Ishmael Mzwandile Soqaga

Women's Writing in Africa has obviously vivified and supplemented the much predominated patriarchal writing in the world of literature.  In Africa alone, this achievement can be clearly evinced by mentioning the sublime names of female writers like Miriam Tlali, Flora Nwapa, Ama Ata Aidoo, Danquah, Mabel, nee Dove, Grace Ogot, Mariam Ba etc.  Of course such wonderful women have contributed enormous corpus of literature that is radiantly gratifying.  

Because of their much fervent adoration for literature many generations that followed after them have emulated them, continually doing marvellous work in somewhat promoting African literature in the world.  Buchi Emecheta of the Joys of Motherhood, Yvonne Vera Butterfly Burning, Tsitsi Dangerembga Nervous Condition, Chimamanda Ngozi Adichie Half of a Yellow Sun and others have explicitly provided sheer evidence that African literature is exceptionally noteworthy. 

Although African political conditions have changed since the attainment of freedom and independence from colonial rule, yet other oppressive dimensions are still prevalent especially towards writers.  Apart from previous colonial domination, in stark contrast, the very same promises of freedom have veered.  It is absolutely known that in the past, Africans in Africa and Diaspora were very connected as they were experiencing a similar gruesome racial situation.  That’s why outstanding female writers like the first black female writer to win Nobel Prize in Literature, Toni Morrison will invariably be attached to Africa.  In her vigorous sacrifices, she also considered African literature by becoming an active literary wordsmith who eagerly championed black writing throughout the world.  By developing Contemporary African Literature (1972), a collection that showcases the work of Wole Soyinka, Chinua Achebe, and Athol Fugard etc was to her attention that Africa too was her motherland.  (Writers like Lorraine Hansberry, Lorna Goodison, Alice Walker from Diaspora are also black female writers whom Africa should reckon with pride.)  

Imperatively, in Europe over the years women's writing was not a common thing.  Pre-eminent female writers who broke up these barriers like Selma Lagerlof the first woman to win Nobel Prize in Literature, Mary Shelley, and American Edit Wharton who also became the first woman to win the Pulitzer Prize are celebrated with great zeal.   An obvious thing that is known to the world is that nothing can be a deterrent to women's writing especially today.  However, in contrast, Africa in particular countries female writing is often considered as precarious component to the authority.  It is very surprising to find out that in the 21st century where the world is remarkably modernized you will shockingly discover that women writing is denied an opportunity to truly blossom.  

Instead (especially in Africa) women writing might be regarded as subversive threat to authority.  To recall, Bessie Head suffered racial alienation in the country of her birth during apartheid.  On the basis of such racism the highly talented literary genius Bessie Head opted to permanently leave her country South Africa and ultimately she ended up living in Botswana where she stunningly thrived as a great African female writer.

Notwithstanding, today in a tiny country and a last remaining monarchy in Africa Swaziland, the world is dumbfounded by what is called stygian experience women writers are faced with.  An acclaimed African literary woman and academic, Sarah Mkhonza is now living in exile because she was unfairly rejected in her own country Swaziland.  She is or her writings are generally pondered as journalistic fiction.  Without any other alternative Sara Mkhonza because of the situation of her country, she decisively preferred to express her opinion by writing.  As a professional, she has achieved a lot in her career.  However, instead she received an unpalatable treatment from Swaziland authorities. 

 Unflinching Mkhonza would declare: “I didn’t attach writing to politics; I just thought it was important to inform Swazi’s about certain simple things that can be harmful.” In 1996, Sarah Mkhonza earned her Ph.D. at Michigan State University.  Sarah Mkhonza is a talented female African writer whose unswerving audacious demeanour under a macabre situation does not dishearten her to be outspoken about the grim conditions which continue to beset her country.  Ostensibly, today the world may think the prospect of literature is congenial and exists without any hurdles induced by the powers that be in the world. 

Alas, it is astonishing to see an African female writer being maliciously inflicted with retribution because she is writing about whate believes is absolutely unacceptable in her country.  Sara Mkhonza's complete efforts to promote African literature will of course never be thwarted by any unscrupulous authority in the world.   Likewise, Newal El Saadawi of Egypt experienced the same grim situation in her country as a female African Arab writer.  Enthusiastically, Sarah Mkhonza constantly produced impressive literature in the world and she is playing a very important role in advocating African literature abroad.  In her country she was a journalist who was an exponent cum spokesperson for the disenfranchised and impoverished people.  

While living in Swaziland she published two novels, What the Future Holds and Pains of a Maid. Subsequent books by her published in the United States unclude Two Stories, Woman in a Tree, and Weeding the Flowerbeds.  Patently, the dismal question which will be continually asked will be “for how long Africa will shun its own intellectuals - including its glittering female wordsmiths - by resorting to bestial persecution?”   

Works by Sarah Mkhonza

What the Future Holds

Pains of a Maid

Two stories 

Woman in a Tree

Weeding the Flowerbeds