post colonial

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George, Rosemary Marangoly, and Helen Scott. "An Interview with Tsitsi Dangarembga." Novel (Spring 1993):309-319. [This interview was conducted at the African Writers Festival, Brown Univ., Nov. 1991] Excerpt from Introduction: "Written when the author was twenty-five, Nervous Conditions put Dangarembga at the forefront of the younger generation of African writers producing literature in English today....Nervous Conditions highlights that which is often effaced in postcolonial African literature in English--the representation of young African girls and women as worthy subjects of literature....While the critical reception of this novel has focused mainly on the author's feminist agenda, in [this] interview...Dangarembga stresses that she has moved from a somewhat singular consideration of gender politics to an appreciation of the complexities of the politics of postcolonial subjecthood" (309). Full text also available from EBSCOHost Academic Search Elite, Article No. 9312270407. Veit-Wild, Flora. [Interview with Dangarembga] "Women Write about Things that Move Them." Matatu: Zeitschrift fur afrikanische Kultur und Gesellschaft 3.6(1989): 101-108. Wilkinson, Jane. "Tsitsi Dangarembga." Talking with African Writers: Interviews with African Poets, Playwrights and Novelists. London: James Currey, 1992. 189-198. Tsitsi Dangarembga (b. 1959) was interviewed 4 Sept. 1989 in London by Jane Wilkinson, and I here highlight some points made in that interview. There seem to be many autobiographical parallels between Tsitsi’s and Tambu’s lives, although Tambudzai (supposed to be 13 in 1968 in the novel) would be slightly older than Dangarembga (who was 9 in 1968). Dangarembga says that she wrote of "things I had observed and had had direct experience with," but "larger than any one person’s own tragedies…[with] a wider implication and origin and therefore were things that needed to be told" (190). One important theme in Nervous Conditions is that of remembering and forgetting—especially the danger of Tambu’s forgetting who she is, where she came from—as her brother Nhamo did. Dangarembga acknowledges this in the interview (191). "I personally do not have a fund of our cultural tradition or oral history to draw from, but I really did feel that if I am able to put down the little I know then it’s a start" (191). Nyasha, the author says, doesn’t have anything to forget, for she never knew, was never taught her culture and origins—and this forms "some great big gap inside her." "Tambudzai, on the other hand is quite valid in saying that she can’t forget because she has that kind of experience. Nyasha is so worried about forgetting because it’s not there for her to remember.
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