Margaret is the black house, she is the pitch black clouds and she is the one intruding on an intimate moment shared between a couple; she is presented as the Other, but one which is shrouded by ambiguity who is both mistreated and ultimately accepted. But Moleka is incomplete. Moleka's love for Margaret is, in the end, transferred to Dikeledi, or at least the text gives us every hope that it will be: Bessie Head writes her novella along the lines of an African folk tale while revealing how women and native tribes can no longer stand for the -isms that have always been a part of life.
This question seems to be the crux of the novel. As chief of the Tribal Administration, and with Dikeledi, he will change Dilepe and better the conditions of the Masarwa. Certain social conditions invite a specific psychological response. Head is ahead of her time in creating strong female characters who assert themselves against both the sexism and classism that exist in their village.
Everything else went smoothly for Dikeledi" He pursues and marries Margaret supposedly because he wanted to give the rest of the world a message, that prejudice is ridiculous, that Masawra are people too. If Moleka had a cloud, a heart, of his own, he would be complete he could combine sunshine with rainfall and produce a rainbow.
In a way, Margaret is paralysed by this lack of determinate identity. Maru himself is described as a kind of schizophrenic subject. He stops to absorb the moment, using the table to steady himself.
If everybody united head with heart as Moleka does, racism would dissolve as the people who believe in it would stop believing.
Although she loved Margaret and was a true friend, even she sometimes found herself considering the difference between Margaret as a Masawra and the rest of the community. Maru demonstrates the dynamics needed for a successful community, anti-anthropocentric philosophies, and shows the cruelty of indifference.
As both men desire the teacher for himself creating a rivalry between close friends, tension ensues at the school as the white men in charge of the system desire nothing more than to be rid of the Bushman teacher with an English name. Would the interpetation of this tale be affected by knowing that its plot may be based on an inversion of a famous marriage between a future hereditary chief, S.
For Maru to be a true leader, he needs to transcend his narrow social order, he needs not to be symbolically integrated into the fabric of his community. Maru representing the heart, Moleka representing the self without the heart. It is a fascinating story which examines how oppression and prejudice are maintained, and how they might be overcome.
Her British education has empowered her, lifting her above the abject slavery most Masarwa people are reduced to, but at the same time it has dispossessed her.
Within the novel, what roles is education shown to play in the lives of colonized people. He is the talk of the town when he invites Seth, the prejudiced education supervisor, to dinner and feeds a Masarwa "with the same fork" with which he feeds himself Maru is interesting because it deals with the oppressive power of ideas.
Realizing she has failed her, Margaret Cadmore returns to England, leaving a young and newly graduated Margaret behind, encouraging her to stay and help her own people. And so Margaret nervously travels to Dilepe, t o take up a teaching post at Leseding School.5/5(5).
Feb 25, · The ‘Masarwa’, Margaret Cadmore, named after her adoptive white mother, learns to paint and in so doing undergoes significant changes of status and position in her society (Boehmer ).
The younger Cadmore is marginalised in an oppressive society via gender, birth (in being an orphan) and, most importantly, race. Huma Ibrahim, for instance, believes "that Margaret Cadmore remains the perfect victim of racism and sexism throughout th[e] novel." 2 For Ibrahim, Margaret is only the passive recipient of good will: "surely the nexus of Masarwa struggle is not to accept charity but.
Part Two Summary Margaret Cadmore’s life is peaceful and quiet, along with her heart. She knows she and Moleka love each other, and she is content with that knowledge. She believes he will never approach her for a relationship because she is a Masarwa.
She has no existence in the village except as the friend [ ]. Maru.
1. Why do you think the novel is titled by the name Maru rather than that of Margaret Cadmore? 2. An unusual structural feature of the book is the chronological relation between the opening episode and what follows--that is, the frame or introduction occurs later than the main narration.
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