PULE LECHESA (South Africa)

By I M Soqaga

Pule Lechesa, the Ladybrand-born poet, literary critic, essayist, translator and short story-writer, continues to make waves in the literary world.

Apparently in Africa-literary criticism it appears as something eccentric or believed to be perpetuated by idiosyncratic elements that seek some sort of ignominy... Sometimes critics can be regarded as iconoclastic who pose a serious threat to "African tradition".  Succinctly going back to traditional African way of life where oral literature was prevalent and fetching.  From such tradition many handy inspirations can be assimilated.

By attempting to portray oral African literature as something sacrosanct and immaculate definitely will be completely tenacious.   Nowadays it is surreal for prospective writers and the well-established African literary wordsmith to jibe at literary criticism in literature. 

Notwithstanding, from the enlightened global perspective, literary criticism is not a ghastly literary genre that aims to aggravate literature in particular.  Habitually for the sake of assimilation, in many instances especially when it comes to African literature it is unavoidable to find examples made in comparison with Western countries where written literature has subsisted for many aeons.  In the Western world literary criticism remains an essential part of literature.  However, in stark contrast in Africa there is a need to emphasise strongly at how literary criticism can help to ameliorate the sphere of literature in the continent.  Therefore it is requisite for Africans to draw inspiration from the very foundation of their own culture in order to contribute sensibly in literature. 

It is the fact, that recently in Africa, there are some outstanding wordsmiths who are doing exceptionally well in advancing genuine literature.  Particularly, in this essay I have opted to concentrate on Pule Lechesa who has been impressive over the years with his fearless approach in presenting quality literary criticism.  Surprisingly oodles of things have been said about him and I’ve been following how other writers reacted after he had critiqued their works.  Thus is what arouses my interest to fathom exactly whether his critical motive is to trash others ruthlessly. 

Specifically, in his book Bolaji in his Pomp page 37 “Bolaji and literary criticism” he candidly states, “Literary criticism forms an integral part of literature even though it often sparks a storm of controversy.  We have seen writers, especially in Africa, who take it as a personal attack, hating the critics”. 

Afresh, in the book “Throbbing SA Black Literature” edited by Christine Mautjana page 11 Nthabiseng Lisele interviewed him as follows:

"You are known worldwide as a tough, ruthless, literary critic.  Are you not afraid of writers hating you?

No, ma’am (laughing)... Their hatred won’t stop me from writing but instead will help me correct errors I might have committed obliviously.  Writers love to massage their egos and in civilized societies it is the norm that if writers are wrong they should be corrected.  For an example, if there’s a certain chapter I stated that it is winter season but only to find out that I said one of the story’s characters was wearing a sleeveless shirt, I’m confusing my readers and I deserve to be corrected.

Blatantly, Lechesa's firmness in literary criticism is conveniently gripping.  A book cannot be critiqued based on the name of the author, but rather it must be completely critiqued on what the author has written.  Therefore the prospect will be to concentrate on the theme, characters and plot etc. not necessarily on the name of the author.  In addendum Pule Lechesa has written a number of awesome literary criticisms both in the form of the book and of the essays.  Here I will specifically focus on his enthralling critical essays and on his book Four Free State Authors as one of his riveting literary books that deal sincerely with literary criticism.   

Four Free State Authors

View from my window

Author Flaxman Qoopane

Here Lechesa unequivocally expresses his critical analysis of the letters of Flaxman Qoopane with unambiguous cogency.   The critic could not attempt to concoct vogue impression by embellishing his critical perspective by singing praises for the varied letters of Flaxman Qoopane.  He avoids allusion but he directly offered his underlying criticism eloquently.  In fact his brilliance must be taken into consideration at how he emphasised criticism over the letters.  “My thoughts about the prominence of the author wanted to melt like night mist under the glare of a hot summer sun.  I found myself in a gigantic mental battle, whereon I had to fight tooth and nail convincing myself not to focus on the author but the text instead”.

Massive Vicarious Pleasure

Author Saint George Vis

Lechesa as a well-established international critic is an engrossing vigorous researcher, very conscious and conversant about literature.  He definitely knows his role as a critic and how important critics are in literary field.  By now he is a solid and firm critic whom some will not appreciate his criticism.  Nevertheless, it is unfortunate for others to be adamantly ignorant and choose to react aggressively about the delectable part of literary criticism.   Critics it depends on how the book it has been written, but their role in literature is very important inasmuch as they can give glaring literary perspective that is suitable in advancing genuine literature.  For instance in his criticism on Massive Vicarious Pleasure written by Saint George Vis, one will understand why Lechesa is sometimes viewed by near-sighted, self ordained infallible writers as "nauseating" and ambiguous .  But the everlasting truth is that he is the kind of a critic who is direct and critically specific.  “The author of this book is one of the young and promising writer in the Free State.  The short stories are moving.  But the question that I am still trying to answer is ‘are these stories really his?’  The reason why I am saying this is because of a particular story that the author has written on page 29 entitled Romance With Ghost.  The author might have conceived the other stories, but I think this one is not his.  The story was once if not twice played in the leading South African radio station Lesedi FM.  The author could have made us aware that he got some stories from somewhere else.  “The story “Romance with a ghost” was dramatized in Sesotho but the author re-wrote it in English.  I see this act as nothing but plagiarism”...

African Night Fire Stories

Author Kang Abel Motheane

Absolutely Lechesa is an African, a Sotho speaking person who is completely aware about Sesotho culture.  Here he is giving his critical expression by making the reader aware about how superstitious material  had debarred and emasculated the children in seizing the opportunity to accumulate wealth of knowledge by  listening to fairy tales.  He proudly commended Kgang Abel Motheane for producing such riveting work of African fairy tales.  His elation about the book is based on the author's intention to resuscitate and inculcate African fairy tales in the 21 century.  “Although the spirit of reciting as well as writing fairy tales is alas, seemingly diminishing amongst the various African nations, indigenous initiatives of this pivotal and creative author KgangMotheane will undoubtedly bring about a major innovation in the Free State Black Literature.  With his artistic style of writing, he rekindles the likes of GqinaMhlophe and Amos Tutuola who are some of the best writers of African literature and poetry.”

People of the Townships

Author O Bolaji

Although literary pundits had unanimously rated the book remarkably highly with their many revered meritorious reviews and criticism as magna opus.  Yet again Pule Lechesa had been capable to painstakingly contemplate the book critically.  Lechesa with his zealous éclat had managed to endow the reader with some cautionary approach towards understanding the book.  Willing to make the reader aware that the book cover does not necessarily give overall explanation of the book.  “The outer cover of this book that is a must-read, has a dagga smoking man wearing dreadlocks on whose shirt there are writings that read thus ‘Jah Lives.’  To enlighten some who do not understand this statement, Jah is the God of the Rastafarians.  Because of that statement one without any shadow of doubt in his mind draws conclusion (Which might be wrong) that the main character John is a Rastafarian.  This book is a vision of what life in the township is like”.

Lechesa continues: "Despite how interesting this book is, I believe that there are some gaps that the author must try to bridge.  For me, whether or not John killed the mother of his child can be contested”.  Mr. Lechesa's criticism of the book graphically displays his diligent prowess and profound commitment in literary criticism.

To emphasise, Lechesa's critical work is very impressive and fascinating.  It is requisite for one to avoid being ignorant because the sterling work that the critics produced it helps a lot for one to understand how his/her book is understood  by others.  In the book edited by Christine Mautjana Throbbing SA BLACK LITERATURE, Celebrating African Literary Critics, there are interesting important points which Mautjana pointed out concerning literary criticism.  “I am sure writers do not want to publish books nobody notice or talks about, at a serious level.  On my own part, I would have been very disappointed indeed if critics had ignored “my” book, Interviews with effervescent writers.  Bolaji and literary criticism in Pule Lechesa’s book Bolaji in his pomp, Lechesa accentuated at how Bolaji provides his transcendent erudition concerning literary criticism “Chuckling, Bolaji told me years ago:  “I remember how the late Sol Plaatje, the great South African writer to publish the first English novel by an African Mhudi, was heavily criticised by the late Professor Mazisi Kunene.  Mazisi said about Plaatje’s novel:  “Mhudi is second rate, badly organised hodgepodge of semi-history, fiction, shoddy allegory – a pastiche combining fact with fiction in a most illogical manner.

Pule Lechesa's critical work is essentially glamorous.  In essence it has bolstered quintessential literature which is tantamount to global standard.  His striking commitment to literary criticism makes one to realise that literary criticism is not about trouncing ones work unscrupulous.  But his ruthlessness is based on facts he critically produced to underpin the pulchritude of literature.  Nevertheless it is not a hush-hush that to others who are ignoramus to this genre of literature called literary criticism had regarded him as detrimental and an obstacle to their success.  Alas! that is a clear near-sighted belief propagated by rather imbecilic individuals who foist threats on others by purporting that their works are redoubtable.   Of course such cowardly demeanour fails the advancement of literature out rightly.  It means only your work as a writer will be known to yourself not to outside world or to aficionados of literature.  As far as literary criticism is concerned Pule Lechesa has done tremendously well to produce second literary thought by appraising the first thought which is the original thought of the writer of the book. 

Amongst others things in nexus to his critical work-his exhilarating literary criticism includes essays on “Rooted from the Heart by Nthabiseng “Jah Rose” Jafta, "Crippling Shortcomings in Hector Kunene’s Through the Tunnel" and "Pule Lechesa refuses to be carried away by the hype over Free State of Mind", a poetry book written by the female trio bards Nthabiseng “Jah Rose” Jafta, Rita Chihawa and Lebo Leisa.   

Resoundingly, recently during the 60 anniversary of the veteran and well respected journalist, poet, author etc. Flaxman Qoopane,  Pule Lechesa once again produced a prodigious critical work on Flaxman Qoopane (LECHESA ON LITERARY LEGACY OF FLAXMAN QOOPANE).  Pule Lechesa is an internationally renowned critic who had written many countless books and he has lately cultivated an outstanding study book on the world revered Sotho writer Dr K.P.D. Maphalla. 

Works by Pule Lechesa

The Legacy we leave behind
Four Free State Authors
Essays on FS Black Literature
Bolaji in his pomp
The Awesome Literary Legacy of Dr K P D Maphalla