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Xhosa oral poetry has defied the threats to its integrity over two centuries, to take its place in a free South Africa. This volume establishes the background to this poetic re-emergence, preserving and transmitting the voice of the Xhosa poet.
This book, first published in 1983, was the first detailed study of the Xhosa oral poetry tradition.
The Broken River Tent is a novel that marries imagination with history. It is about the life and times of Maqoma, the Xhosa chief who was at the forefront of fighting British colonialism in the Eastern Cape during the nineteenth century. The story is told through the eyes of a young South African, Phila, who suffers from what he calls triple 'N' condition--neurasthenia, narcolepsy and cultural ne plus ultra. This makes him feel far removed from events happening around him but gives him access to the analeptic memory of his people. After being under immense mental pressure, he crosses the mental divide between the living and the dead and is visited by Maqoma. They engage in different conversations about cultural history, literature, religion, the past and contemporary South African life.
Xhosa Literature consists of fourteen essays addressing Xhosa literature in three media-the spoken word, newspapers, and books. Literary critics tend to focus on Xhosa literature published in books with some attention paid to Xhosa oral poetry and tales, but by and large the contribution of newspapers to the development of Xhosa literature has been overlooked. This book explores aspects of Xhosa literature in all three media, and their interconnections. Six of the essays treat historical narratives (amabali) and praise poetry (izibongo), setting out the social and ritual function of poetry and the poet (imbongi), mapping changes in the izibongo of three poets as South Africa moved towards democracy in the 1990s, and analyzing recordings of two poems recited by S.E.K. Mqhayi. Three essays are devoted to the first Xhosa novel, Mqhayi's U-Samson (1907), to the publication of the greatest novel in Xhosa, A.C. Jordan's Ingqumbo yeminyanya (1940), and to the first published poem in praise of Nelson Mandela, D.L.P. Yali-Manisi's 'UNkosi Rolihlahla Nelson Mandela' (1954). There follow accounts of Xhosa literature in the nineteenth century and the appropriation of the press by Xhosa editors towards the end of that century, of Nontsizi Mgqwetho's fiery poetry published in Umteteli wa Bantu, and of poems by Mgqwetho and Mqhayi published in Abantu-Batho, two Johannesburg newspapers. The volume concludes with an exposition of an imaginative response to David Yali-Manisi and his poetry. (Series: Publications of the Opland Collection of Xhosa Literature, Vol. 6) [Subject: African Studies, Politics, Sociology, Xhosa Literature]
The South African literature of iimbongi, the oral poets of the amaXhosa people, has long shaped understandings of landscape and history and offered a forum for grappling with change. Of Land, Bones, and Money examines the shifting role of these poets in South African society and the ways in which they have helped inform responses to segregation, apartheid, the injustices of extractive capitalism, and contemporary politics in South Africa. Emily McGiffin first discusses the history of the amaXhosa people and the environment of their homelands before moving on to the arrival of the British, who began a relentless campaign annexing land and resources in the region. Drawing on scholarship in the fields of human geography, political ecology, and postcolonial ecocriticism, she considers isiXhosa poetry in translation within its cultural, historical, and environmental contexts, investigating how these poems struggle with the arrival and expansion of the exploitation of natural resources in South Africa and the entrenchment of profoundly racist politics that the process entailed. In contemporary South Africa, iimbongi remain a respected source of knowledge and cultural identity. Their ongoing practice of producing complex, spiritually rich literature continues to have a profound social effect, contributing directly to the healing and well-being of their audiences, to political transformation, and to environmental justice.
A Xhosa prince reluctantly leaves the University College of Fort Hate and goes back to the land of his ancestors to take his place as king of the Mpondomise. The clash of his modem ideas and the traditional beliefs of his people mirrors the dash of the western way of life with African custom and tradition -- church-people versus traditionalists, school people versus 'red-ochre people', boarding school activities versus the inkundla or assembly at the royal place. The conclusion, that disaster can be averted only by the willingness of opposing forces to work together for mutual comprehension of the legitimate claims of tradition and modernity, gives a foretaste of the spirit that governed modern South Africa's political transformation. Ingqumbo Yeminyanya -- The Wrath of the Ancestors -- is a classic of Xhosa literature. A C Jordan has a keen eye for detail, a delightful sense of humour and a dramatic style. Literal translations of Xhosa images, idioms and proverbs transport readers to the Tsolo district and conjure up the memorable speeches of the Mpondomise counsellors.
"The Xhosa ntsomi (sing. intsomi; pl. iintsomi) is a performing art which has, as its dynamic mainspring, a core-cliché (a song, chant, or saying) which is, during a performance, developed, expanded, detailed, and dramatized before an audience which is itself composed of performers, everyone in a Xhosa society being a potential performer."--Introduction.
The consumption of indigenous beer is a widespread and long-standing feature of many African societies, a practice of both historical and contemporary significance. Among the rural, Xhosa-speaking people of South Africa''s Eastern Cape province, maize beer became increasingly important in the context of early twentieth century colonialism, and a range of new beer drinking rituals developed. This coincided with state neglect of black rural areas and with economic and demographic changes that led to the emergence of co-operative relations within neighbourhood groups as a vital element of homestead production. With the entrenchment of the apartheid regime from the late 1940s onward, the maintenance of a rural homestead, agricultural practices, and an agrarian lifestyle became one way to resist the injustices of apartheid and fuller incorporation into the wider society. In this respect, beer rituals became a crucial mechanism through which to develop and maintain rural social and economic relations, to inculcate the values that supported these, and to provide a viable though fragile view of the world that afforded an alternative to the disillusionment and suffering associated with black urban areas. Using an anthropological analysis based on a combination of Bourdieu''s practice theory with the anthropology of performance, this book demonstrates the way beer drinking rituals worked towards these aims, the various types of rituals that developed, and how they sought to instill a rural Xhosa habitus in the face of almost overwhelming odds. This book is part of the Ritual Studies Monograph Series, edited by Pamela J. Stewart and Andrew Strathern, Department of Anthropology, University of Pittsburgh. Named a 2006 "Outstanding Academic Title" by CHOICE Magazine. "[T]his vivid, comprehensive study of patterns and variations within a single society makes the subject come alive as few other studies have done." -- CHOICE Magazine "McAllister''s focus on the community-building role of beer drinking rituals in Xhosa society greatly contributes to the growing body of anthropological literature on alcohol. This book is a must read for serious scholars of African anthropology, colonial and postcolonial studies." -- Journal of Anthropological Research "This is a respectful book about beer drinking and this respect is inherent in the author''s attitude toward research. Patrick McAllister discovered while researching labour migration and ritual that he should be led by what Xhosa considered as ritual and not what the researcher defines as ritual. From this new perspective, the importance of beer drinking became obvious and this gives the book the hallmark of good anthropological work: we get to know the logic of a society that is very different from our own." -- Development and Change "Overall, the book interprets beer drinking rituals with anthropological acumen, and it succeeds in revealing how these individual rituals adapt to and reflect broader historical changes." -- Modern African Studies "I came to this book expecting a useful monographic account of beer drinking and labour migration in the Shixini district in the Eastern Cape, perhaps pulling together material previously scattered in several publications. The book does indeed provide this, but in fact delivers much more... Despite my familiarity with much of the ethnogrpahic material, I found it fascinating reading." -- Journal of Southern African Studies "McAllister shows, with a great deal of finesse, how to take a small-scale study and use it to cast light on a much broader set of topics... McAllister provides a deep ethnography that builds upon the work of earlier ethnographers of Xhosa-speakers, including Philip Mayer and Monica Wilson. Like that of his predecessors, his work shows a profound respect and affection for rural culture and the people who practice it." -- H-SAfrica
Winner of the 2018 International Latino Book Awards “In this beautiful gem about a girl who wants to learn to read, letters burst forth from imagery done in cut-paper collage and a rainbow of color, each page telling its own story with a quiet, understated voice.” — B.C. (New York Times) The war is over and little Ayobami can finally go to school. Everyone is extremely happy, and joy is all over the town. The children are excited to go to school and have a great time, but Ayobami is so impatient that she cannot wait for the other kids and decides to go to class alone. To keep her from getting lost, Ayobami’s father builds a paper boat and pushes it out into the river, telling her, "If you follow it downstream, you will arrive at the schoolhouse.” But when the ship sinks, Ayobami must find another way to school through the winding paths of the jungle. With only the help of a paper and a spent pencil, Ayobami sets off on an exciting journey with a fundamental objective: to learn to read and write. Will the wild animals from the jungle allow her to reach her destination safely?