Dreams and Realities in Broken Glass, The Mupandawana Dancing Champion, and One Day I Will Write About This Place - Essay Example

?Dreams and Realities in Broken Glass, The Mupandawana Dancing Champion, and One Day I Will Write About This Place: A Comparative Analysis Introduction “I am disappointed that all the distant scenery, blue and misty, becomes more and more real as I come closer, there is no vague place, where clarity blurs, where certainty has no force, and dreams are real” (Wainaina 8). Such are the words of the narrator in One Day I Will Write About This Place as he comments on the downright difference between reality and dreams. While this statement is personal, dreams and realities in African literature are also expressed in the social context such as in The Mupadawan Dancing Champion, and Broken Glass. In The Mupadawan Dancing Champion, the narrator describes his place as a seat of growth, not of progress, but of mortality rate. “Ours is one of the biggest growth points in the country, but the only real growth is in the number of people waiting to buy coffins...”(Gappah 114). In relation to this, Alain Mabanckou, in Broken Glass, shows the difference between dreams and reality in the context of social structure. “...are the Minister for Agriculture’s Negroes better that you...I wonder, that his Negroes don’t even have an official car each, they get the ministry’s bus, they live off pitiful salaries, while you loll about here in the palace, swimming in my pool” (9). With these statements, it can be said that dreams and reality in modern African society affect the social structure of the nation. Broken Glass, The Mupandawan Dancing Champion, and One Day I Will Write About This Place are three of the contemporary African literatures that depict modern African experience. Those literary works introduce the reader to the modern society and culture of Africa. In the context of theme, Broken Glass, The Mupandawana Dancing Champion, and One Day I Will Write About This Place depict the difference between dreams and reality in relation to the modern society of Africa. Those selections can be read as the authors’ social commentary and an expression of the society. For the reason that those literary works describe African life, readers are introduced to the rich tradition and culture that characterize African literature. Mimetic Theory and Biographical Approach The meaning of the text varies according to the perspective of the reader; it depends on how the reader interprets the meaning in the context of his/her personal life and orientations. Although literature can have multiple interpretations, it is necessary to support individual interpretations with theories and approaches to make such claims valid. Accordingly, literary theories and approaches are essential in explicating the meaning of the text. In interpreting the theme of the chosen selections, it is appropriate to use the Mimetic Theory and Biographical Approach to set the focus of this study on the relationship between the author, society, and text. In using this theory and approach, the reader/critique to evaluate and understand the theme of the selections in relation to the society and the author. In Mimetic Theory, literary works are seen as a reflection of the society; it is inspired by true events, people, and places (Gebauer and Wulf 28). This theory suggests that aside from its entertainment purpose, literature also aims to depict an event or people in the society. In one way or another, a particular social condition inspires an author to create such literary work. In this sense, it may be said that literature is in comparable to history only that its elements (plot, characters, and setting) are fictionalized. On the other hand, using Biographical Approach in literary studies enables critiques to understand the motives of the author in writing the text (Klarer 90-91). Additionally, this approach evaluates the text in relation to the standpoint of the author and his/her purpose in writing the story; it also studies the relationship between the author’s life and his/her work. Biographical Approach allows critiques to derive meaning in relation to motives of the author; however, it is not necessary that there are events, places and people directly referring to the author’s personal experiences. Thematic Similarities African literature is full of literary and cultural traditions as it expresses the cultural heritage and events that trace the development of African society (Brar and Singh 469). While the influences of European and American colonizers are noticeable in African literature, African writers have their own ways in expressing their mind set making their works images of their experience. The themes, in most African literary works, center on their own culture and aspirations as well as their struggles toward personal and national identity. In addition, African literature tackles personal and national identity issues; it portrays events and people that help shape Africa’s socio-political order. In connection to this, African literature is strongly linked to liberation movements in the sense that it promotes social and cultural awareness. Specifically, the recurring theme in Broken Glass, The Mupandawana Dancing Champion, and One Day I Will Write About This Place is the significance of dreams and realities in the society. Although the selections illustrate different images and expressions of dreams and realities, those selections demonstrate how reality and dreams affect the person. In addition, the contrast between illusion and reality is significant in the context of social, economic and political order. Through the behavior and dialogues of the characters, the reader will be able to explore the essence of dreaming in Africa. In the social context, the extent to which a person dreams helps determine the social status of a person. As shown in the stories, dreaming, in Africa, is an escape from the bitter realities that grip the nation; it is their source of inspiration. Dreams and Realities in The Mupandawana Dancing Champion This story is taken from Petina Gappah’s short story collection An Elegy for Easterly. Whether taken individually or collectively, one can sense that these stories depict issues related to hyperinflation and leadership, the traumas of Africa after the colonization (Jones). At the start of the story, the narrator introduces reader to their social and economic condition. “I have become convinced that the government calls Mupandawana a growth point merely to divert us from the reality of our present squalor with optimistic predictions about our booming future” (Gappah 113). In this line, it can be said that the real situation of the place is different from what the settlers have imagined. Dreams, in this case, is the solution to the society that suffers from the bitter effects of economic and political crisis. Furthermore, it can also be said that those stories, especially The Mupandawana Dancing Champion tackle issues related to unemployment and governance. Unemployment, one of the most critical issues tackled in the collection, is one of the elements that characterize modern African society. The main character of the story, Vitalis, is portrayed as an efficient worker who contributed, in one way or another, to the rising unemployment rate of the country. For the reason that Vitalis can do different tasks, his employer easily dismissed two other workers because Vitalis can efficiently do the job on his own. However, when inflation gripped the country, he lost his job too. He dreamed of getting his pension when he will retire. However, as it turned out, the company he worked for was closed. Instead of getting his pension, he was given three pairs of shoes. In the story, dreams and realities influence the lives of the people in the sense that realities and illusions create a false perception regarding the true nature of their country and leaders. While leaders are optimistic about the country’s future, people are not informed on the present situation of the nation, and, what they see is different from what they expected to happen. The real situation is far from the prosperous society that the people dreamed. In the context of Mimetic Theory, the life of Vitalis is a concrete example of the life of Africans during the time when inflation zoomed. Many African workers lost their jobs and are left to cultivate fields and were left wondering about their future, whether they will thrive or totally be consumed by the economic crisis. Relating this situation to Biographical Approach, it can be said that the author writes this story to bring into the world the situation of Africa. It can also be said that Petina Gappah’s motive is to take a stand on the current social situation of her country; she aims to portray Africa through the lives of a common man, not through the lives of its leaders. Dreams and Realities in Broken Glass At the outset, the narrator introduces the readers to the two main characters of the novel, Broken Glass and Stubborn Snail. Stubborn Snail, the owner of the bar Credit Gone West, requests Broken Glass to write about the customers of the bar because he thinks that Broken Glass would make a fascinating story about them. On the other hand, Broken Glass, a teacher who is also a regular customer of the bar, spends his time writing the story of the people around him and, implicitly, tells the image of Africa during his time (Fischer). The experiences of the people that he narrates in the novel are images of African experiences. Thus, in this sense, it can be said the novel is a collection of life experiences. As the title signifies, broken glass is an example of a failed promise, an unfulfilled dream. When a glass is broken, there is no way to fix it like it was never broken. This feeling of brokenness is also present in the character of Pampers guy who wears Pampers to protect his backside. “I can show you my backside, you could make a fist and put it up me, no problem, that’s the truth, I never even got a trial on this shit-hole of a country” (Mabanckou 34). Dream, in this sense, is expressed in Pamper’s desire to get a fair trial as well as the kind of treatment that every human being deserves. Additionally, in this line, the reader will be able to see the judicial system that governs the society. While Africans suffer from the adverse effects of colonization, Credit Gone West signifies the factor that affects the lives of Africans, liquor and other vices. During the colonization, Africa’s human and natural resources went to the colonizers in the same way the money of the regular customers in Credit Gone West goes to the capitalists. Although the bar is a solace to those people who need to escape from their sober lives, it is also a destructive factor that affects family life. “It began with the Church people, who, noticing their Sunday congregation dwindled, launched a holy war flinging their Jerusalem bibles at the door of Credit Gone West...it was largely due to Credit Gone West that their wives no longer cooked for them, nor respected them as wives did in the old days” (Mabanckou 3). In this sense, it may be said that Credit Gone West is a symbol of Africa, trapped in the influence of its Western colonizers. Dreams and Realities in One Day I Will Write About This Place Realities and dreams are presented in this novel in relation to the aftermath of Africa’s struggle for independence (Fuller). In addition, although the novel depicts the life of Alain Mabanckou in East Africa as well as the cultural conflicts during the 1950s-70s, it also concerns on coming-of-age experiences as well as the struggles in pursuing personal dreams. In this memoir, the author narrates his childhood experiences and, implicitly, tells how those experiences influence his life as a writer. Readers are given the chance to take a glimpse of the author’s life as well as the events that shaped the society during those years. Furthermore, the personal experiences narrated in this selection portrays the experiences of those Africans who struggle against racial issues and discrimination. “In school, it is always Ciru number one, blue and red and yellow stars on every page. It is always Ciru in a white dress giving flowers to the guests of honor--Mr. Ben Methu--on Parent’s Day” (Wainaina 4). In this line, the narrator tells his relationship with Ciru, how she excels and casts her shadow on everyone in her school. Evaluating the story through the Biographical Perspective, it can be said that the places mentioned in the story signify actual places. The “place” mentioned in the title refers to the significant places in Mabanckou’s life (Habila). Those places may refer to Uganda (the birthplace of Mabackou’s mother, Kenya (his country) and South Africa where Mabanckou spends most of his student life. While the memoir tells Mabanckou’s life (childhood to adulthood), it also becomes a viewpoint from which readers will be able to see African society during his days. Dreams and realities take form in the experiences of Mabanckou, the narrator of the memoir. “I will be free of awkwardness, of Ciru, of Jimmy, of Idi Amin dreams...My body tearing away, like Velcro, from the patterns of others” (Wainaina 8). Thus, the inspiration derived from the narrator’s daydreaming enables him to find his voice as a writer. Social Implication: Dreams and Realities in Modern African Society The Mupandawana Dancing Champion, Broken Glass, and One Day I Will Write About This Place narrate the realities and illusions of Africans concerning their government. In this sense, it can be said that dreams and realities are integral parts of the society as those have the power to influence the lives of the people. Although the selections illustrate dreams and realities in different ways, those share a common goal of associating dreams and illusions with social concerns. Those novels tell the situation of Africa and how the main characters continue their lives amidst the crisis that they face. As for Vitalis (The Mupandawana Dancing Champion) dreams and realities are shown in the economic context because his dreams and realities are about employment. When he retired from his job in the furniture factory, he was employed as a coffin maker. Vitalis, then, took pleasure in participating dancing shows in their place, Mupandawana. Such economic concern is also shown in Broken Glass when the narrator seem to put capitalism against the social and cultural constructs of Africa. When capitalists (represented by Stubborn Snail) arrive, social structure and culture in Africa change. People, including Broken Glass, fall prey to the whims of the capitalists such as when he accepts Stubborn Snail’s request of documenting the lives of Credit Gone West’s regular customers. However, Broken Glass still has his own dreams. “I’m writing this for myself as well...by the time he reads this, I’ll no longer be one of his customers, I’ll be dragging my bag of bones about some other places, just slip the document quietly before I go, saying ‘mission accomplished’”(Mabanckou 2). While Broken Glass and The Mupandawana Dancing Champion share the same concept of dreams and realities as related to social and economic concerns, One Day I Will Write About This Place illustrates dreams and realities as a personal desire. Dreams and realities are shown in the life of the narrator as he struggles toward the fulfillment of his dreams. “All my life, my body has been a soft and comfortable beanbag, nicely worn into the right shape for my mind to wiggle around, to lean back, sigh and dream. No longer” (Wainaina 226). In this line, it can be said that the essential lessons in growing up are learned through accepting the reality and pursuing an achievable dream, in Mabanckou’s case, to become a writer. Conclusion The Mupandawana Dancing Champion, Broken Glass, and One Day I Will Write About This Place show the significance of dreams and realities in the lives of humanity, specifically in modern African society. In the lives of the main characters, struggles are part of the process of learning as well as appreciating ones value in the society. The dreams of the main characters concern more on what they can do to help their society as well as themselves. While the realities of this world cause depression, dreaming is one of the ways to cope with life. The characters of the novels, for instance, are able to get by for the reason that their dreams provide them with inspiration to continue living. Taken together, the sense in dreaming is in the fact that dreams will be able to help people face the reality as well as survive the struggles that life has to offer. Lastly, while dreaming is an escape, it also gives people a reason to confront the cruelties of life. Thus, realities and dreams, in the three novels, coexist along with social, political, and cultural issues. Works Cited Brar, B. S., and Sukhdev Singh. "The Politics of Poetics; The Quest for Ethno-Culture Identity and Selfhood in Modern African Fiction." International Economics Development and Research Center. Grand Mercure Roxy Hotel, Singapore, IN. 28 February 2011. Conference Presentation. Fischer, Tibor. “Duck Soup.” The Guardian. The Guardian, 21 Feb. 2009. Web. 2 Dec. 2011. . Fuller, Alexandra. “A Writer’s Beginnings in Kenya.” The New York Times. The New York Times, 12 Aug. 2011. Web. 2 Dec. 2011. . Gappah, Petina. “The Mupandawana Dancing Champion.” An Elegy For Easterly. London: Faber and Faber, 2009. 113-130. Print. Gebauer, Gunter, and Christoph Wulf. Mimesis: Culture, Art, Society. Trans. Don Reneau. California: University of California Press, 1995. Print. Habila, Helon. “One Day I Will Write About This Place by Binyavanga Wainaina--review.” The Guardian. The Guardian, 4 Nov. 2011. Web. 2 Dec. 2011. . Jones, Stephen. “Review: An Elegy for Easterly.” Politics.co.uk. Politics.co.uk, 16 April 2009. Web. 2 Dec. 2011. . Klarer, Mario. An Introduction to Literary Studies. London: Routledge, 1999. Print. Mabanckou, Alain. Broken Glass. Trans. Helen Stevenson. London: Serpent’s Tail, 2009. Print. Wainaina, Binyavanga. One Day I Will Write About This Place. London: Granta Publications, 2011. Print. Read More