This book does not resemble any of Jeff Opland’s previous academic works. There is no similarity in style, and to some extent content. His previous books, namely, Xhosa oral poetry: Aspects of a black South African tradition (Cambridge University Press, 1983), and Xhosa poets and poetry (David Philip, 1998), were written as purely scientific, academic works. The Dassie and the Hunter amounts to a subtle snub of academia and its restrictive rules. Though written by Opland, it is as if he and his research subject, Manisi, have colluded to make this work different and special, in a personal mystical way, disregarding academic etiquette, weaving a more creative, poetic tapestry. This makes the book an interesting read. In style and content, it is neither rigorously academic, solely biographical, nor purely creative. It evades classification. It is individualistic

Kaschula, Russell H

Rhodes Repository (SEALS)

TYDSKRIF VIR LETTERKUNDE • 43 (1) • 2006186
RESENSIES / REVIEWS
The Dassie and the Hunter.
A South African Meeting.
Jeff Opland. Scottsville: University of
KwaZulu-Natal Press. 2005. 389 pp.
ISBN 1-86914-036-2.
This book does not resemble any of Jeff
Opland’s previous academic works. There
is no similarity in style, and to some extent
content. His previous books, namely, Xhosa
oral poetry: Aspects of a black South African
tradition (Cambridge University Press, 1983),
and Xhosa poets and poetry (David Philip,
1998), were written as purely scientific, aca-
demic works. The Dassie and the Hunter
amounts to a subtle snub of academia and
its restrictive rules. Though written by Op-
land, it is as if he and his research subject,
Manisi, have colluded to make this work
different and special, in a personal mystical
way, disregarding academic etiquette, weav-
ing a more creative, poetic tapestry. This
makes the book an interesting read. In style
and content, it is neither rigorously acade-
mic, solely biographical, nor purely crea-
tive. It evades classification. It is individual-
istic.
This book appropriately begins with a
lament, in traditional Xhosa izibongo style,
for the late poet, David Yali-Manisi. An Eng-
lish version appears in the front of the book,
and an isiXhosa version appears on the last
page. In between the versions of this la-
ment, the reader is introduced to the com-
plex and intertwined lives of Opland and
Manisi. It has to be remembered that this
was a time when apartheid discouraged
cross-colour relationships from being
formed. It is important that this context be
constantly borne in mind by the reader. This
context informs the nature of the relation-
ship between Opland and Manisi. Although
portrayed by some in the book as stereo-
typical and having a baasskap mentality,
their relationship, I believe, was genuine
and exploratory.
The book has no chapters. It resembles
more a collection of personal essays or sec-
tions, with each essay creatively titled. “The
evil spirit of tribalism” introduces one to
David Yali-Manisi. This is done against the
backdrop of the life and work of the great
isiXhosa poet, S.E.K. Mqhayi, in order to
show how his work inspired and influenced
that of David Manisi. Opland also refers to
the history of the time, the emergence of
the homelands, the later release of Mande-
la from prison and so on. The book takes
one on a historical, personal and poetic jour-
ney. This makes the book challenging and
complex for the reader. Throughout the
book the author laments the fact that Ma-
nisi, on the eve of South Africa’s liberation
from apartheid, “lapsed into obscurity, and
faded from view like a star swept by clouds”
(27). Nevertheless, Opland manages to
place Manisi back onto the centre stage of
South African poetry. The book is clear ev-
idence of the greatness of this South Afri-
can poet.
The next essay, “That is a Thembu”, trac-
es Manisi’s early poetic career. It also traces
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TYDSKRIF VIR LETTERKUNDE • 43 (1) • 2006 187
his relationship with Kaizer Matanzima,
who later became leader of “independent”
Transkei. This section explains historically,
how Manisi emerged as Matanzima’s praise
singer. It also shows how there relation-
ship was terminated due to political differ-
ences. One is also introduced to a Mr. Arosi
who seems to have had a profound influ-
ence on the initial discovery of Manisi’s
poetic talent. By the end of the book I was
left feeling that this relationship could have
been further researched and elucidated.
The third “essay”, “I do it on your be-
half ”, introduces Jeff Opland’s first meet-
ing with Manisi. This section also contains
exciting juxtapositions of their individual
lives, the author in Cape Town, the poet in
the rural Khundulu valley, miles apart.
“Yish goes the caterpillar” is perhaps the
most controversial. Here Manisi is placed
in artificial contexts by the author and asked
to perform. The author later acknowledges
that this was not the correct approach and
that he “never again suggested to Manisi a
topic of any of his oral poems (…) hence-
forth I merely accepted and celebrated his
capacity to do so” (114).
The fifth essay “Let’s clasp each other ’s
hand”, explores the growing interdepen-
dent relationship between Opland and Man-
isi. An extended poem in honour of Trans-
kei’s independence and Matanzima is in-
troduced here. Given the ambivalent rela-
tionship between Manisi and Matanzima
this poem is acknowledged by both Opland
and Manisi as controversial, making the
poet feel “ashamed” (149). Nevertheless,
apartheid and Matanzima aside, it remains
an important poem, depicting a certain era,
and it should be seen in that context. One is
introduced to the work of the Institute of
Social and Economic Research (ISER,
Rhodes University), which was later to be-
come, dare I say, the “intellectual” home of
both David Manisi and Jeff Opland.
The following essay, “I wish we could
meet, and meet again” sees Manisi as a tra-
ditional artist in residence at the ISER. In a
letter to Opland, Manisi acknowledges that,
“it is the hunter who knows the dassies cran-
nies” (206). This is reflected in the title of
the book, encapsulating the allusive, yet co-
dependent relationship between Opland
and Manisi. The next section, “Reclaiming
lost sticks”, sees Manisi appointed as a re-
search officer at the ISER. This appointment
facilitated the publication of much of his
poetry.
The eighth section, “Everyone lies, but
especially poets”, explores Manisi’s relation-
ship with the University of Transkei, his ap-
pointment at the ISER having come to an
end, as well as his journey to Vassar Col-
lege in America, where he joins Opland in
order to give a number of performances.
Their relationship is received as stereotyp-
ical, causing much debate and controversy:
“the work of a white man writing about
black traditions” (271). As previously stat-
ed, the historical context of this relation-
ship should not be ignored. I believe that
the book shows the genuine intrigue, in-
terest and well-being that exists between
these individuals. Opland remains support-
ive of Manisi, even when dismissed from
his employment for drunkenness. Opland,
like a friend, chooses to support Manisi and
his poetic talent, rather than the reasoning
of the employer. Indeed, poetic genius or
creative talent often succumbs to the need
to survive, to earn money. It is seldom a
happy and comfortable relationship. This
is depicted in the life of Manisi.
The following section, “Ndiyindoda, I am
a man”, further explores the American ex-
perience against the perceived American
stereotypes of South Africans, as well as the
hostility of black South Africans in America
towards Manisi’s relationship with Opland.
At another level, the tragic death of Mani-
14 Resensies 03.pmd 1/27/2006, 2:06 PM187
TYDSKRIF VIR LETTERKUNDE • 43 (1) • 2006188
si’s second wife unfolds. Finally, “I have
nothing to say”, sees Mandela released
from prison, David Manisi’s growing in-
firmity and isolation. It also contains some
recollections on his life and work by vari-
ous individuals. Towards the end of the
book the style grows increasingly prosaic
and lyrical, much like Manisi’s poetry: “In
performance he came alive, he was freed
of the constraints of social intercourse (…)
what he said and the way that he said it
demanded attention and marked him as a
man of stature, a true son of the soil of Af-
rica, and one of its greatest poets” (387).
I have not commented on any of the poet-
ry presented in this book. It is for you, the
reader to imbibe, critique and enjoy. As a
scholar of isiXhosa I would have liked to
see the presence of parallel isiXhosa texts.
Opland has chosen to ignore academic
convention. There is no index, no biblio-
graphy or references. The lack of an index
makes it difficult to cross-reference and re-
locate certain facts. That said, the style is
refreshing, personal, if not self-indulgent
at times, yet the book is striking and beau-
tifully written. It is, for all intents and pur-
poses a style, which takes into account Ma-
nisi’s suspicion, disdain and distrust for ac-
ademics, “he bore a wary distrust of their
pretensions and technical jargon” (108).
The Dassie and the Hunter would appeal
to anyone interested in South African litera-
ture, history and biography. A purely aca-
demic, scientific book – No! An innovative,
creative, compelling, personal and exciting
read – Yes!
Russell H. Kaschula
Rhodes University, Grahamstown
En skielik was dit aand.
Joan Hambidge. 2005. Protea Boekhuis.
Pretoria. 158 pp. ISBN 1-86919-080-7.
Die postmodernisme is reeds ad nauseum
toegelig, verdedig en verguis. Feit bly staan
dat hierdie filosofiese ingesteldheid die kuns-
te in al sy geledinge, en die literêre kritiek
as uitvloeisel daarvan, ten diepste beïn-
vloed. Veral die uitspreek van ’n waarde-
oordeel oor die digkuns word geproblem-
atiseer deurdat die groot verhale, ook met
betrekking tot “waarhede” oor wat goeie
poësie sou wees, omgekeer, geskommel of
ontken word. Daarby vra die omgaan met
eietydse woordwerk ’n selfrefleksiwiteit, by
digter en kritikus, en veronderstel dit ’n
bereidwilligheid tot vryblywende spel. En
hoe word hibriditeit beter verreken anders
as deur die akkommodering van veelvul-
dige en ontglippende “kuns”-aansprake?
Kortom, hoe meet mens vandag ’n gedig
wanneer die basis van digterlike meriete
deur die postmodernistiese perspektief on-
dergrawe word?
Dit is teen die agtergrond van hierdie en
verwante vrae dat ek die jongste bundel
van die gevestigde digter-skrywer, akade-
mikus en kritikus, Joan Hambidge in oën-
skou neem. Hambidge mag immers skryf
hoe, hoeveel en wat sy wil. Sy durf dit in
die vorm van haar keuse giet, selfs dié van
verkapte prosa, en as gedigte presenteer.
Verder staan dit uitgewers vry om haar
werk te publiseer, en die media om pub-
lisiteit daaraan te verleen. Tog het ek erns-
tige bedenkinge oor die gehalte van haar
werk, en oor die gevaar dat Hambidge
vanweë haar bekendheid, produktiwiteit
en omstredenheid tot ’n belangrike figuur
in ons digkuns gereken mag word. So ’n
persepsie behoort myns insiens deur die
literêre kritiek bevraagteken te word.
Ek vertrek vanuit die veronderstelling
dat ’n digter, om tot ’n uitgelese beoefenaar
14 Resensies 03.pmd 1/27/2006, 2:06 PM188


The Dassie and the Hunter: A South African Meeting

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The Dassie and the Hunter: A South African Meeting

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