A review of Omoseye Bolaji's TEBOGO FAILS

By Peter Moroe


Because of the ever-expanding growth of Free State black literature, it has not always been easy to keep abreast with all the recent trends in the writing available, or even the introductory parts of it. I was delighted to read the book, get hold of the book, Perspectives on Free State Black Writing (Omnibus)(1). Here there are many essays on our local black literature with notes.

Because I seemed to have an affinity with Omoseye Bolaji’s exciting brand of fiction, I read the essays touching on his work carefully. Then when I re-read them after reading his work of fiction Tebogo Fails (2), I realized only too well the importance of one of the essays in Perspectives on FS black writing titled "Vendetta in Bolaji’s writing"(3)

Those who have not read the book Tebogo fails might prefer not to read this essay which somewhat gives the game away. Yet this book of Bolaji once again reinforces the belief that there is a lot of "vendetta" in Bolaji’s writing.

The book, Tebogo Fails starts - and ends - with some romantic undertones which for the purpose of this review I prefer to discount; wishing to get to the heart of the mystery itself. Which simply involves two murders in a certain neighbourhood in Botshabelo. A girl; ,or very young lady (around 14) is raped and murdered and soon after a gentleman (Sizwe) is brutally knifed to death too. Who could have killed them? This is what sleuth Tebogo Mokoena has to find out (4)

The murders are somewhat interlinked though we don’t know for a long time. But a pivotal figure or character is "Bareng" who seems to have suffered most from these murders. Firstly, his own younger sister, Jane, is the murdered girl; then the killed Sizwe is - was - his best friend. From all indications Bareng is a fine character and one sympathises with his losses.

The following passage is taken from Tebogo Fails: "You see, Tebs (Tebogo) Bareng is well known as the complete gentleman in this area. A bit boring perhaps, but honest, decent person… recently two people very close to Bareng have been murdered: Bareng was probably Sizwe’s best friend, and just a few weeks ago, Bareng’s younger sister, Jane was killed, her body left in a field..."

(Pages 10 and 11)

Let us look again at this passage: " (Bareng is talking here about his sister):

"I’m afraid I am a bit emotional where my little sister is concerned. She was an angel. Very responsible. By 7, 8 she was cooking fine food for the family…a delightful soul; well brought up. Rapists! Child molesters! They should all be punished... did you read the book, The Ghostly Adversary?" He did not wait for my reply. "Just deserts for rapists," he concluded (Page 16)

The interesting thing about this passage is not - as some think - that the author, Bolaji - took the chance to "plug" a book of his, The Ghostly Adversary. No, the main thing is the recurrent idea of revenge, vendetta, that the author re-inforces here. It is clear that Bolaji believes in "just deserts" in this wise.

By the time we get to the end of the book, Tebogo Fails we realize that it is Bareng himself who killed his "good friend" Sizwe! Why? Some excerpts from the book here as Tebogo investigates:

Bareng talking: "Tebogo, I could not believe what I was hearing (after Sizwe had confessed to killing his sister). The bastard. Thinking about the outrageous way my sister had died I made up my mind that Sizwe must not get away with this... I did what had to be done. I got in front of him and plunged the knife into his chest. Wiped my fingerprints off it. The bastard deserved to die!"
(Page 52)

But what we should note is that the narrator ("Tebogo" - as the book is written in the first person)) and of course Bolaji himself, is only too anxious for Bareng to get away with his ruthless murder. As Tebogo first muses, then says:

"I certainly would not expose him; rather I’d claim I had failed to unravel the mystery. Lets forget about what we discussed (Bareng’s confession) today, eh?"
(Page 52)

The point here is that Bareng plunges the knife into his friend after he realizes he killed his sister. It is a clear case of revenge or vendetta which our Tebogo - and of course Bolaji - fully supports. Tebogo would rather tell the whole world that he had "failed" to discover the secret behind these Botshabelo murders, than have Bareng arrested or impugned...

NOTES

1. Perspectives on Free State Black Writing (Omnibus edition) By MA Mokhuoa. 2003
2. Tebogo Fails By Omoseye Bolaji. Drufoma 2003. Republished 2005 and 2008
3. "Vendetta in Bolaji’s fiction" By D. Xangaza. Published in "Perspectives on Free State Black Writing"
4. Bolaji has now published seven books on the investigator Tebogo Mokoena - in order of publication, the four books are: Tebogo Investigates (2000), Tebogo’s spot of bother (2001), Tebogo Fails (2003),Ask Tebogo (2004), Tebogo and the Haka (2008), Tebogo and the epithalamion (2009), and Tebogo and the pantophagist (2010)

* First published in The growth of Free State Black Writing Journal (2005). Slightly edited and brought up to date here

Tebogo and the pantophagist - sneak preview

A sneak preview of TEBOGO AND THE PANTOPHAGIST, to be published early in 2010



By Paul Lothane

In Omoseye Bolaji’s new adventure featuring Tebogo Mokoena, Tebogo and the pantophagist (2010) we can discern some “Bond-ian” features (from the legendary James Bond movies). Intermittently, there are faint echoes of what might be exchanges between “M” and Bond.

For example, going back to Tebogo and the Haka (2008) when the “flamboyant man” queries Tebogo:

“”OK let’s cut to the chase. What do you know about the Haka?”

He was dead serious. So I replied: “The Haka? I believe it’s a traditional Maori ‘war dance’, nowadays associated with the New Zealand Rugby team. Quite fascinating to watch really…other South Pacific teams have their own versions I believe …the likes of Fiji, Tonga, and Samoa”
(Page 4)

In Tebogo and the pantophagist the flamboyant man again starts by saying to Tebogo:

“I guess we should talk now. Tell me – what do you know about the likes of Alexander Graham Bell, Galileo Galilei, Janssen, Roger Bacon,, James Watt, Louis Pasteur…?”

“Hmm,” I said, “they were all great inventors weren’t they? Bell invented the telephone; Janssen the microscope, Roger Bacon gunpowder; Watt the steam engine or train…Galileo – the telescope?”

The flamboyant man nodded. “You tried; but you have to do better. Much better...”. A bit later on, he adds:

“You see, you must get close to the pantophagist “

I winced. “The what?”

“The pantophagist. It’s still the same man (Mr Shasha) but we like to call him pantophagist because he has a reputation for eating all types of food, without somehow getting tired, sick, or fat. It’s like chewing the cud or something, perhaps….”

Through these brief exchanges the general reader gets to cotton on as to what is happening, with some brief elucidations which do not become tedious. Again, later in the latest book when Tebogo is with the gorgeous Debbie, who is explaining that her father named her after Debbie Allen:

“Debbie Allen?” I tried to remember who she was.

“Yes Debbie Allen, the superb American female dancer and choreographer. World famous for her role in Fame. The TV series and movie. Holds honorary doctorates from lofty tertiary institutions for excelling in such fields. My father loved her very much – and named me after her,”

“I’m not sure your mother liked that,” I grinned… The usual humour characterising the “Tebogo series” is evident. The story, plot (such as it is) is interesting enough, reaching a surprise peak in chapter 9. Maybe all that is needed is a Vodka Martini, shaken but not stirred!

Omoseye Bolaji's play premiered in Port Elizabeth

Omoseye Bolaji’s play premiered in PE

The subtle transgressor, a superb play based on the Mangaung townships had its premiere at Uitenhage in Port Elizabeth in late March (2006). The play, written by novelist, poet and essayist Omoseye Bolaji (above) drew many audiences from the townships as it was brought to life courtesy of the Gladman Theatre. The youthful cast did themselves proud.

A didactic, yet gripping play, The subtle transgressor focuses on the abuse of youngsters, especially girls. It brings together the complicated relationships between the father, Job, the daughter Kate and peer pressure in general. Kate’s friends, Maria and Violet also loom rather large in the drama.

Questions that arise from the play include: what type of pressures do young women face nowadays; what makes them tick? How do they relate to their parents; how does their background fashion, and later reflect on what happens to them in future? How far can a parent go in trying to “discipline” their children?

As typical of Omoseye’s novels in particular, the play ends with a great twist at the very end which left the audience in the hall spellbound, shocked and shouting. Bolaji, invited to witness the production in Port Elizabeth said later: “When I wrote the play, I wanted to focus on some societal problems, but hopefully not in a too pedestrian way. Kate’s disturbing revcelation comes at the very end after the whole situation has built up,”

Rose Moseneke, who acted the pivotal role of “Kate” received a standing ovation for the vigour and reality she demonstrated in bringing her character to life. She handled her lines well, and was brilliantly word perfect near the end of the play when she went into a soliloquy of almost 30 lines of end-rhymes as demanded by Bolaji’s script; ending with:

“…The truth will surely set me free
Not that it fills me with glee
To be or not to be?
I guess we’ll have to wait and see
Yet nothing should shake my firm resolve
My fears and reticence to dissolve
As I first take care of something
To precipitate the firmness of my being”

Rose Moseneke explained: “After reading the play of Mr. Bolaji, I was so impressed and I felt that I was born to play the role of Kate, and it was fun doing so! Our dream is to take the play all over the place. Many of our young ladies can sympathise and empathise with the plight of Kate,”

Although in the original published play, Maria’s grandmother does not actually appear – although referred to in the text a few times – in the staged version this other “granny” actually appears and tells the three young ladies (Maria, Violet and Kate) not to make too much noise outside. Samson Mabuyakhulu, who directed the play for the premiere (and acted the part of Job) said: “I felt it would be more realistic for the audience to see the ‘granny’ at least once as she’s referred to a lot in the published play,”

On his role as “Job”, Mabuyakhulu smilingly said: “I did what I could to portray Job faithfully. In the play he’s so aggressive and fond of losing his temper so quickly. In real life I am not like that!”

Yet it would probably have been better – and certainly more realistic – if real grown ups had acted the parts of “Pule” and “Malome” as required by the original script. The young actors did their best but at times lacked the authenticity to play their roles with complete conviction. The sound effects were also sometimes tentative.

Meanwhile in Mangaung (Free State) itself, some writers and artist expressed disappointment that the play was first put on stage away in Port Elizabeth. Pule Lechesa, the well known author said: “Bolaji wrote the play based on Mangaung here, and in the text we have references to areas in the Bloemfontein townships. Why could it not have been premiered in the Mangaung townships? Maybe the lesson is that we should get our arts and theatre here in order,”
First issued and published by the Eclectic Writers Club in April 2006

TWO BOOKS ON JOURNALISM

TWO BOOKS ON JOURNALISM

By Pule Lebuso

Book: Fillets of Plaice
Author: Omoseye Bolaji
Publisher: Leballo Literary Services (2000)

Book: Adventures in Journalism
Author: Flaxman Qoopane
Publisher: Drufoma (2001)

These two books are essentially about the world of journalism, both written by black writers/journalists based in the Free State. Their books are quite different though, as this brief essay will show.

One gets the impression that Flaxman Qoopane is often frustrated with editors, and he goes into some detail on this. Omoseye Bolaji (pictured) however just tells us very briefly in one sentence in his book (page 10): “Editors have broken my heart – many times”

The conclusion of both books are not so different from each other, highlighting how frustrating journalism can be. Bolaji’s book was published at least a year before that of Qoopane’s, hence it is possible it might have influenced the subsequent book a little.

The approach of both authors is very different. As we are used to by now, Qoopane’s book is more of autobiography. Bolaji’s is more technical, and his Chapters reflect this: The Writer, Making money from writing, Fiction, Editors, Photo journalism etc

Qoopane has a habit of detailing many names in his books, which can be tedious; he does this in his book. Bolaji often cuts out excess information, making his books easier to read as he gives interesting examples, jokes etc.

Again, Bolaji often brings in national, international analogies and examples, and in his book we are introduced to the likes of Jeffrey Archer, Wole Soyinka, Enid Blyton, William Barrett, even Glenn Hoddle, among others.

Qoopane often goes into particulars quite chronologically, of his progress as a journalist, writing for newspapers and magazines in different countries; but Bolaji’s book is more general, incorporating experiences briefly rather than giving many specific details.

Hence Qoopane for example in his Chapter about Next magazine goes into great detail about his and Bolaji’s “great days” in the magazine; how they enjoyed wine, women, music! But Bolaji quite incredibly hardly mentions Next magazine; we are restricted mainly to a few lines in the appendix of the book.

Another feature of Qoopane’s book on Journalism is the liberal use of letters, especially in the second part of the book. This of course reminds us of his book, Letters to a Poet. Although at least one of the longest letters published in Qoopane’s book was written by Bolaji, in his (Bolaji’s) own book on Journalism, there is nothing like this.

Often we hear that black writers (including journalists) hardly write books based on their experiences for others to learn from. It is pleasing that both Flaxman Qoopane and Omoseye Bolaji have written books about journalism.
* Originally written/published in 2003

The Crest - Omoseye Bolaji honoured in Nigeria

BOOK REVIEW

Book: THE CREST – Omoseye Bolaji honoured in Nigeria (2008)
Author: Flaxman Qoopane
Reviewer: Peter Moroe

This book details the events of a special week in the life of writer Omoseye Bolaji whilst he was honoured in Nigeria for his contributions to African black literature. After a special Book Presentation (of two of his literary works), the events culminated in the conferment of a Chieftaincy title on Bolaji. Flaxman Qoopane, a key writer himself, was invited to Nigeria to witness the events.

The author of this book, Mr Qoopane has done a good job in putting together salient pieces from the special week. He starts with a fine Introduction, and reproduces his formal Invitation to the events. He sets the stage for the Book Presentation which took place at the revered University of Ibadan . He also adds other snippets.

Also included are presentations (critiques etc) on Omoseye Bolaji’s literary work generally, and pertinently on the two books focused on: People of the Townships, and The subtle transgressor. The inclusion of these speeches and essays make this book a valuable addition to the corpus of critical work on Bolaji already available.

Also included is Bolaji’s Vote of thanks at the Book presentation itself – titled THE CREST (from which the title of this book is taken). Once again we have some insights into the shaping of Omoseye Bolaji the writer from a very young age. It is often remarked that since Bolaji is a notoriously private person, it is only once in a blue moon (mainly through interviews) that one gets glimpses into what makes him tick.

And by interviewing the man behind the company that printed the west African books of Bolaji (Kunle Bamidele) Qoopane adds a human face to what many regard as a rather amorphous and soulless business – printing and publishing. Mr. Bamidele in his own way makes literature alive and relevant by talking about books and writing generally in that region.

There is also an account of the “Chieftaincy Day” itself, intriguingly through the eyes of the protagonist himself - Omoseye Boalji. His account is brief and interesting – and personal. But despite this, it is clear that both the author of this work, Flaxman Qoopane, and Bolaji placed much more emphasis on the Book Presentation itself. This fact is important when one considers that in places like west Africa a major Chieftaincy title being conferred on an individual is the ultimate in achievement. Yet Qoopane and Bolaji stay true to their innate instinctive beliefs that the show must revolve around the books, literature itself. After all, without his contributions to African writing Omoseye Bolaji would not have garnered so many awards, or plaudits.

On the whole, Flaxman Qoopane does a good job in this new work (book) of his. Earlier in his writing career, Qoopane published books like A poet abroad (2000), Memoirs of A Cultural Activist (2001), Reneiloe-Mpho’s Story (2002), The Conference (2003) among others. His last book was City of Roses and Literary icons (2007). We welcome THE CREST, his latest book (2008)

Omoseye Bolaji: Protecting the rights of women

OMOSEYE BOLAJI: Protecting the rights of women

By Marika du Plessis

Omoseye Bolaji, we ladies who love creative writing in the Free State salute you; congrats on your latest award. Of all the comments we have been reading about you, it is hardly highlighted that you have always fought for the rights of women in your fiction; that we ladies should be respected and certainly not abused.

I remember the first time I read your book, Impossible Love. I burst into tears and quickly read it again. I loved the young female protagonist, Betty too much. She was still a teenager in the story, but she was so intelligent and focused. There was no looking down on this character who hailed from the townships.

In Bolaji’s novel, The ghostly adversary, a woman who was violated whilst still quite young exacted physical revenge on her male attackers many years later. As Charmaine Kolwane, who has produced a book on Bolaji’s writings puts it “one small tiny woman shakes up three men!”, but the woman in question has every right to do so after the hell they put her through in the past.

Another critic, the late Pule Lebuso writes about another Bolaji book (from the Tebogo series) “Women are treated with such fulsome respect in Bolaji’s fiction to the extent that it can even lead to absurd, dangerous situations, as we see at the end of Tebogo’s spot of bother” . He did not specify in his review, but the incident referred to is when the ever humane, gentlemanly sleuth, Tebogo is ruthlessly attacked by the guilty lady at the end of the book. She hits him with a gun, the blood flows, but yet Tebogo risks his life by refusing to hit a woman. What a lesson to all men out there! Even a bad woman should be treated well.

In another of the “Tebogo series” - Tebogo Fails, here the whole work is about a man who kills another man who had not only raped, but murdered his kid sister. The investigator, Tebogo, lets the murderer go free because he is fully against the violation of young women. It is an act the author himself (Omoseye Bolaji) obviously agrees with. Critic Petro Schonfeld (a woman) is not sure in her book whether Tebogo should have let the killer escape, but rest assured that most women would agree with the sleuth here. You cannot just violate young women and get away with it if the law might let you off!

Omoseye Bolaji’s play, The subtle transgressor, is also about the violation of a young lady, in particular; incest actually. At the end of the play the violator is completely humiliated. There are some readers who believe that the culprit should have been punished heavily by the law for what he did, but this is rather unrealistic considering the peculiar case that unravels here. Indeed Bolaji has his ear very much to the ground as usual, and does not overdo what would have been an overly contrived conclusion.

In his novel, People of the Townships, Bolaji uncharacteristically allows the protagonist to kill a woman (his ex) who has questionable morals. In this work where the author rather unsucessfully tries to portray protagonist John Lefuo as “a mad man’, the praise for “good women” is legion. It is clear that on the whole, Lefuo himself is against violating women, and was rather provoked to do what he did (and pays for it). Some women were not slow to tell the author, Bolaji that we would have preferred the mother of the child to live if only so that she can take care of her child. maybe we should write our own books!

On the whole however, Omoseye Bolaji has always been on the side of women, castigating abuse of the same. Perhaps the best illustration is in his short story “The jack in the box” published in Drum magazine (in April 2006) where a man who attacked his girlfriend gets his just desserts in the end - he is extraordinarily and mercilessly beaten up in the end, by ironically a lady skilled in the martial arts. This story is Bolaji in microcosm, as it has elements of suspense, wry humour, and an unexpected ending.

Throughout his creative works Omoseye Bolaji has shown demonstrably that violation of women is something to be frowned at unequivocally, and those who do so should be punished. In real life Bolaji might come across as shy towards women, occasionally teasing, even childish, but he has a core of steel, incorporating certain principles that run the gamut of his works where women are concerned.
* Marika writes poems and short stories

The poetry of Omoseye Bolaji

THE POETRY OF OMOSEYE BOLAJI
By Peter Moroe

Omoseye Bolaji has contributed a lot to African black writing. For many of us we associate him with superhuman contributions to journalism; but then again there is his nigh phenomenal contributions to literature.

This is understandable. It is baffling that any writer we know so well could have published so many stunning fictional books: Impossible Love, The Ghostly Adversary. The Guillotine, people of the Townships, and the “Tebogo mystery” series: Tebogo Investigates, Tebogo’s Spot of bother, and Tebogo Fails.

In the process Bolaji’s contributions to poetry become very much undermined. An occasional poet, as he calls himself, he has nevertheless published a fair amount of poetry in magazines and in anthologies (books). Here I shall briefly look at his published book of poems, Snippets.

Bolaji’s poems are not of the quick fame, easily understood variety; they are often condensed, distilled from African proverbs and a profound philosophical mind remarkably expressive in English. Take the beginning of THE VILLAGE for example:

The pastoral rustic ambience
Fauna serenely traipsing around
The inimitable sheep dog on the qui vive
Orchestrating the peregrinations of its wards

Or the beginning of IN EXILE:

Shards of loneliness pierce the exotic glasshouse
A wandering musky essence wrapped in cogitation
A withering cold exacerbated by the perforation
Of my ramshackle matchbox house
What to ameliorate the sequestered existence?

The comprehension of the poems become even more difficult when Bolaji dips into African aphorisms; in DERAILMENT for example:

In dire frustration and stymied futility…
The needle is malleable to the entreaties of the cloth…

The poetic devices are heightened and impressive, even in his more simple poems like TEMPTATION. “Titillating. Husky penumbral tendrils again” And the very last line of the poem: “Wan yes, but one that won me a laurel!” Note the poetic use of “wan” “one” and “won” in just one line, all with different meanings.

Poems such as THE VILLE and ODIOUS SIGHT are sonnets, with all the lines rhyming. In ODIOUS SIGHT it is interesting that Bolaji borrows from languages with his end rhymes, e.g mukhukhus rhyme with goose (lines 9 and 10); and system rhymes with skelm (lines 14 and 14)

THE ROAD is a triumph. The foot notes to the poem tell us that it is one based on true life when as a very young man, Bolaji was driving a car which suddenly “knocked” See how the poet describes it:

A heart rending noise
Reminiscent of grating ululations
Redolent of abrasions. Lesions.
Banshee screechings and screams
Interspersed with persistent metallic shrieking
Involuntarily jerking the car to a halt

We can imagine the engine of the car in great pain!

The simplest poem in the book is certainly BETRAYAL which ends in both pathos and bathos:

When you were in my arms
And you said you were for me
I thought something great was developing
Now I’m shocked to learn
That my own senior at workkeeps you warm in bed!”

The unexpected ending, the climax, reminds us of most of Bolaji’s fiction anyway. Which I suppose is a familiar place to end my piece.
First published in 2004