MARU. [Novel] By Bessie Head. Reading makes you a lot better. Which states? Many sensible words say that by reading, your life will be much better. Do you. Le sujet étudié dans ce mémoire est "La lutte contre l'aliénation et la recherche de l'équilibre mental dans trois romans de Bessie Head: When Rain Clouds. Maru book. Read 89 reviews from the world's largest community for readers. An orphaned Masarwa girl comes to Dilepe to teach, only to discover that in th.
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Complete summary of Bessie Amelia Emery's Maru. print Print; document PDF Maru, one of the Totems or chiefs in his African village of Dilepe and soon to be the village's paramount chief, is the title character of Bessie Head's novel, but it. Maru - Free download as Text File .txt), PDF File .pdf) or read online for free. Bessie Head's story, Maru, looks at the affects of colonialism on African people. This is Head's first piece of poetry for The New African, a periodical. The poetic Maru, Head's second novel, is a major attempt on her part to portray this conflict Monkey', and Bessie Head's Maru," College Literature ():
As a woman, she is further relegated to the margin, belonging everywhere and nowhere, forever between identities and cultures.
In a way, Margaret is paralysed by this lack of determinate identity. Does Margaret have any agency in the novel? First, being a Masarwa takes power away from her.
Second, Margaret Cadmore Snr appears to offer her a degree of status and freedom through her Western education. But her education is a double-edged sword. If it allows Margaret Jnr access to the dominant group, it cuts her off from her own people, while at the same time placing her in a position where she never really belongs to the dominant group because she is always seen as a Masarwa.
If people like the school principal, Pete, is empowered by his English education, one can ask questions about the extent to which this education empowers Margaret. This is not just because she is a Masarwa, but also because she is a woman — yet another disempowering category. Often educated women have to try harder than their uneducated sisters to fit into their communities — a great deal of African literature by women deals with society's patriarchal fear of educated women.
We also need to be suspicious about the nature of an English education. While it affords a certain social status, and translates into social and economic power, colonial education always served to internalise the values of the coloniser. Are there any ways in which she does exercise agency? While it is identified as a paralysing condition above, postcolonial interstitiality or hybridity can also be liberating. It allows a kind of fluidity of identity; we are never identified by our race, or our tribe, or in a simplistic way by our nation.
The worst evil is perpetrated in the name of a determinate identity erected at the expense of difference — but postcolonial fluidity allows for the free play of difference and therefore allows the possibility of change. If there is any moral dichotomy in the novel, it is between fluidity and stasis, change and inertia — the good is always on the side of change and openness.
Is she returning to the world of stereotypes and labels? Another important way in which Margaret exercises agency is through her art. If Margaret is very quiet and passive, she does speak through her art — this is where she finds a voice.
It had to be brought under control, put on a leash and then be allowed to live in a manageable form. You might want to ask yourself — does art really have this power? What makes this description interesting is that she just represents normal things that she sees around her, but her art transforms them into something sublime. This is quite a romantic idea of art. The sense in which she exercises agency through her art is complicated by the fact that Maru seems increasingly to exercise control over her imagination — or at least, he imagines he does.
He secretly downloads her art equipment, takes her paintings for himself, eventually he even colonises her mind, confusing her dreams and his. Nonetheless, while Margaret is painting, she seems more in control of her own life than at any other point in the novel.
She is happy, this is also the time she starts painting seriously. It is significant that this is also a time of isolation.
When the news about Margaret being Masarwa spreads, she is ostracised by society because she is supposed to be a slave. However, she still feels lonely due to the fact that she is not married to her first love, Moleka. He becomes her redeemer. It is so dreadful that it may be considered as fatal. She thinks that it is her decision to agree to marry Maru. This brings into question whether he really loves Margaret or if he weds her in his attempt to conquer prejudice towards Masarwa.
Maru realises that overcoming prejudice is a process that requires cautious planning. This metaphor describes the change that occurs as Maru had expected.
The Masarwas are slowly being freed from the oppression that they have been subjected to. Bessie Head uses these three themes to demonstrate to the reader that in order to triumph one has to work hard and be strong. Even though she is trained not to exhibit emotions her body unexpectedly displays her at moments when she is overwhelmed sensations that she does not understand nor come across before.
In conclusion, where there is real love there is loneliness because and prejudice is one of the major entities that bring about loneliness in the novel. If there was no prejudice, there would have been fewer problems for everybody in the town.
Where he could, he nailed them to the ground, but always alertly with no intention of becoming their victim. And he intended following his own heart without in any way becoming the victim of the stupid, senseless, cruel society into which he had been born.
Hence his lies and evasions At such times he would think: 'What will I do if she does not love me as much as I love her? This iteration is more haunting for the simple reason that I bought this book not out of genuine interest, but because the title showed up at my regular sale and I thought, despite this being one of Head's less popular works, I should give her a chance.
That's the magic of practicing the paying of attention to those sidelined by both public perception and common sense: in converse to bloated expectations for the usual and more often than not sadistic, there is little to no advanced preparation made for the wonders to behold. Neither this nor SN is a favorite, but they both have a certain something that marks a writer who knows when to begin, end, and concentrate as much as is humanly possible in between. First, I thought of Jane Eyre , for an orphan protagonist, a teaching occupation, and a mysterious patriarch can't help but call to mind what lived and breathed in said mind before.
Then, I thought of fairy tales, which, while a constant penchant of mine, have been brought even more to the forefront of my casual connections by the release of the live action 'Beauty and the Beast', which may not have wowed as much as I like but also did not take advantage as much as I feared. Dreams, taboos, and archetypes: I've learned in academic theory that a solidification into the third is a mark of the European tendency to classify via erasure, but that does not prevent the first and second from gorging themselves on human lives and spitting up mere pittances of stories of said thirds in return.
What Head accomplishes, then, on the level of setting immensely complicated beings to walk an incredibly familiar path, is nothing new. One could attempt to refute this by pointing to the setting and the characters and the lexicon in the back of the book, but the fact that the respective histories of each aren't made the focus of every classroom across the globe doesn't make the history any less old, or the people any less real, or the stakes any less high.