Memory Chirere
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| Book Review: Poetry |
Memory Chirere enjoys reading and writing short
stories and some of his are published in Nomore
Plastic Balls (1999), A Roof to Repair (2000),
Writing Still (2003) and Creatures Graet and
Small(2005). He has published short story books;
Somewhere in This Country (2006), Tudikidiki
(2007)and Toriro and His Goats (2010).Together
with Prof Maurice Vambe, he compiled and edited
(so far the only full volume critical text on
Mungoshi called): Charles Mungoshi: A Critical
Reader (2006) He is with the University of
Zimbabwe (in Harare) where he lectures in
literature. Email: mchirere@arts.uz.ac.zw
stories and some of his are published in Nomore
Plastic Balls (1999), A Roof to Repair (2000),
Writing Still (2003) and Creatures Graet and
Small(2005). He has published short story books;
Somewhere in This Country (2006), Tudikidiki
(2007)and Toriro and His Goats (2010).Together
with Prof Maurice Vambe, he compiled and edited
(so far the only full volume critical text on
Mungoshi called): Charles Mungoshi: A Critical
Reader (2006) He is with the University of
Zimbabwe (in Harare) where he lectures in
literature. Email: mchirere@arts.uz.ac.zw
Title: Sunflowers in Your Eyes – Four Zimbabwean Poets
Editor: Menna Elfyn
Publisher: Cinnamon Press
ISBN: 978-1-907090-13-4
Year: 2010
Reviewed by Memory Chirere
89pages
These four women poets of Zimbabwe in this collection are young. Ethel Irene Kabwato,
Blessing Musariri, Fungai Rufaro Machirori and Joice Shereni are poets who belong to the
contemporary working class of Zimbabwe. It means that all of them are decision makers
and amongst them you may find a mother, sister, wife or friend of someone big or small in
Zimbabwe. They variably write about individual scapes. They write about woman’s love for
man who usually does not return the favour in equal measure. They write about their
country (Zimbabwe) at a time of deep political strife. Each of these women answers, in her
own way, to the questions: what does a woman want? What is love? What is country?
Fungai Machirori’s is a questing poetry, sometimes demanding, and praying too, for the
restoration of the dignity of woman. Machirori’s persona insists that she is:
…not ketchup,
to be had on the side,
Along with a main course
She wants to be the main meal itself because she is ‘distinct and complete’. Fungai
Machirori could be the most ideologically nuanced poet in this collection. She creates
balance between suffering and hope and one is reminded of David Diop, the Senegalese
poet. Sometimes Machirori’s poetry is about resurrection from a fall or the contemplation
on it. Her persona, a radical feminist cries out: ‘No man is worth fighting for’ and ‘no man
is worth dying for’, too. And if a genuine man’s love is hard to come by, she says:
I’d rather wrap cold chains and iron locks
Around the throbbing core of me
And watch and let my fetters grate and rust and cool
My blood
Machirori has no regrets and she writes with a clear certainty of those who are used to
traveling until they arrive at destinations. Her other poem is even boldly entitled ‘Tears Will
Not Cure’.
But Joice Shereni writes for matrimony. She does not give up on anything. Hers are
probably the deepest poems in this collection, compelling and conversational. Her persona
wants to reach out, to converse and reconcile with the runaway man and heal from old
wounds. She hurts very deeply from inside. Suffering is not a curse but a school. It is even
a career. She knows how fire burns. But she also does not want to lose control. ‘Should I
let myself need you?’ she asks in ‘Destiny’. In ‘Hunters’ she feels that when you are an
object of pity, you become naked until you run for cover like Adam and Eve. Shereni
addresses man out there who doesn’t know how to be husband. Any man who participates
in the humiliation of woman is also humiliating himself, seems to be the philosophy here.
Blessing Musariri’s poetry has lots of room, literal and metaphorical. She writes maybe the
most transcendental poetry of the four, causing collocation of time and place. She is
carefully laid back, edgeless like fog and reminiscent too. You find that in ‘Last Goodbye’.
Musariri is a calm day that promises to be hot right there in the morning. She can also be as
treacherous as honey! Because her lines pretend to wonder about, when in fact, they gather
up bits and pieces to brew a final whirlwind effect as in ‘Breaking News’ and in ‘Related’.
Her prose poetry is sometimes deliciously dreamy:
Daytime flights are dangerous because you see the place you might land should you chance
to fall. Here among rolling clouds my thoughts meander- this is as close to snow as I as I’ll
get today, as close to you- standing in the foyer, laughing about how your father bought
you an Easter egg for your birthday. A glass of wine with lunch has aroused my fancy-
touching cool glass as I have touched your face. High in this blue sky, in nothing else but
sky, I am further than I have ever been from you.
Ethel Kabwato’s haiku are better than all that she writes here. There is especially the very
short poem ‘Hate’ which goes:
So consuming
like uncontrolled
veld fire.
Or the other one called ‘Painting’:
Show me that painting
again
of happy children
playing.
But Kabwato’s political persona is a rock with a jagged edge. She goes deep to the jagular
vein, as violent sometimes as Zimbabwean politics. She shouts at what she sees as betrayal
of the nation by its own politicians. She writes the most tumultuous poetry in this collection,
pricking you especially where the heart is supposed to be. Kabwato has no faith in the
nation’s history or its institutions for she thinks that they are only full of political mobs. You
travel down her lines and discover that she actually has faith in the individual conscience
that registers and registers and registers the misdemeanors of those with power, reminding
you of Charles Mungoshi’s friend in Waiting For the Rain, who is being buried alive,
‘minding the sand no more’.
This is a collection to remember; crispy, inspired and sparsely put together for readers who
hate melodrama and verbosity.
Editor: Menna Elfyn
Publisher: Cinnamon Press
ISBN: 978-1-907090-13-4
Year: 2010
Reviewed by Memory Chirere
89pages
These four women poets of Zimbabwe in this collection are young. Ethel Irene Kabwato,
Blessing Musariri, Fungai Rufaro Machirori and Joice Shereni are poets who belong to the
contemporary working class of Zimbabwe. It means that all of them are decision makers
and amongst them you may find a mother, sister, wife or friend of someone big or small in
Zimbabwe. They variably write about individual scapes. They write about woman’s love for
man who usually does not return the favour in equal measure. They write about their
country (Zimbabwe) at a time of deep political strife. Each of these women answers, in her
own way, to the questions: what does a woman want? What is love? What is country?
Fungai Machirori’s is a questing poetry, sometimes demanding, and praying too, for the
restoration of the dignity of woman. Machirori’s persona insists that she is:
…not ketchup,
to be had on the side,
Along with a main course
She wants to be the main meal itself because she is ‘distinct and complete’. Fungai
Machirori could be the most ideologically nuanced poet in this collection. She creates
balance between suffering and hope and one is reminded of David Diop, the Senegalese
poet. Sometimes Machirori’s poetry is about resurrection from a fall or the contemplation
on it. Her persona, a radical feminist cries out: ‘No man is worth fighting for’ and ‘no man
is worth dying for’, too. And if a genuine man’s love is hard to come by, she says:
I’d rather wrap cold chains and iron locks
Around the throbbing core of me
And watch and let my fetters grate and rust and cool
My blood
Machirori has no regrets and she writes with a clear certainty of those who are used to
traveling until they arrive at destinations. Her other poem is even boldly entitled ‘Tears Will
Not Cure’.
But Joice Shereni writes for matrimony. She does not give up on anything. Hers are
probably the deepest poems in this collection, compelling and conversational. Her persona
wants to reach out, to converse and reconcile with the runaway man and heal from old
wounds. She hurts very deeply from inside. Suffering is not a curse but a school. It is even
a career. She knows how fire burns. But she also does not want to lose control. ‘Should I
let myself need you?’ she asks in ‘Destiny’. In ‘Hunters’ she feels that when you are an
object of pity, you become naked until you run for cover like Adam and Eve. Shereni
addresses man out there who doesn’t know how to be husband. Any man who participates
in the humiliation of woman is also humiliating himself, seems to be the philosophy here.
Blessing Musariri’s poetry has lots of room, literal and metaphorical. She writes maybe the
most transcendental poetry of the four, causing collocation of time and place. She is
carefully laid back, edgeless like fog and reminiscent too. You find that in ‘Last Goodbye’.
Musariri is a calm day that promises to be hot right there in the morning. She can also be as
treacherous as honey! Because her lines pretend to wonder about, when in fact, they gather
up bits and pieces to brew a final whirlwind effect as in ‘Breaking News’ and in ‘Related’.
Her prose poetry is sometimes deliciously dreamy:
Daytime flights are dangerous because you see the place you might land should you chance
to fall. Here among rolling clouds my thoughts meander- this is as close to snow as I as I’ll
get today, as close to you- standing in the foyer, laughing about how your father bought
you an Easter egg for your birthday. A glass of wine with lunch has aroused my fancy-
touching cool glass as I have touched your face. High in this blue sky, in nothing else but
sky, I am further than I have ever been from you.
Ethel Kabwato’s haiku are better than all that she writes here. There is especially the very
short poem ‘Hate’ which goes:
So consuming
like uncontrolled
veld fire.
Or the other one called ‘Painting’:
Show me that painting
again
of happy children
playing.
But Kabwato’s political persona is a rock with a jagged edge. She goes deep to the jagular
vein, as violent sometimes as Zimbabwean politics. She shouts at what she sees as betrayal
of the nation by its own politicians. She writes the most tumultuous poetry in this collection,
pricking you especially where the heart is supposed to be. Kabwato has no faith in the
nation’s history or its institutions for she thinks that they are only full of political mobs. You
travel down her lines and discover that she actually has faith in the individual conscience
that registers and registers and registers the misdemeanors of those with power, reminding
you of Charles Mungoshi’s friend in Waiting For the Rain, who is being buried alive,
‘minding the sand no more’.
This is a collection to remember; crispy, inspired and sparsely put together for readers who
hate melodrama and verbosity.
