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
