A Celebration of Bessie Head: Maru (1971)

1971; Heinemann, 1995

1971; Heinemann, 1995

Officially joining Kinna in A Celebration of Bessie Head July 6 – 12, 2013? ImageNations and Mary Okeke Reviews. And, unofficially, plenty more readers.

Readers meet Maru in the novel’s opening pages, but I love this description which comes later:

“He was a man who talked and walked slowly, with a languid grace, loosely swinging his long arms at his side. The people who surrounded him really merged into a background where there was little noise or upheaval.”

This is the kind of prose which reminds readers of the rhythm that words can hold. You can feel that languid grace, the swing of arms, the pattern of walking and talking in Maru’s particular way.

It is the kind of prose which reminds readers that what unfolds in the background, where there might be little noise or upheaval, can contain the seeds of revolution.

Certainly nobody expected the arrival of a young school-teacher in the remote, inland village of Dilepe to precipitate dramatic change. But the extraordinary is often cloaked in the ordinary.

But that’s disingenuous: Margaret Cadmore is not ordinary.

“The near perfect English accent and manners did not fit her looks. In fact, not one thing about her fitted another and she looked half like a Chinese and half like an African and half like God knows what.”

Margaret Cadmore could pass as the child of a white man, but she proclaims her identity clearly: “I am a Masarwa.” Though raised by a white woman, the young teacher is descended from the Masarwa, and even when others advise her to keep silent about this, even when others create a silence in which this lie could proliferate, the young teacher insists on her true identity.

And the price for her honesty?

“It was African. It was horrible. But wherever mankind had gathered itself together in a social order, the same things were happening. There was a mass of people with no humanity to whom another mass referred: Why, they are naturally like that. They like to live in such filth. They have been doing it for centuries.”

Maru owns the Masarwa as slaves, all of his 100,000 cattle and 50 cattle posts maintained by them.

“They sleep on the ground, near outdoor fires. Their only blanket is the fire. When the fire warms them on one side, they turn round and warm themselves on the other side. I have seen this with my own eyes. What will they do when they hear that a certain Masarwa in my village is treated as an equal of the Batswana and given a bed from my office?”

Maru recognizes the paper qualifications of this unusual woman, but he is unprepared for the change which her acceptance would herald. That noiseless background, that mass of people to whom another mass referred: there are expectations therein.

These expectations are embodied in other characters as well, but one can avoid all spoilers by referring to the description of the school principal, which also demonstrates Bessie Head’s succinct characterization and her way in which bold images are contained in the matter-of-fact style of her prose.

“The principal of the school belonged to that section of mankind which believed that a position demanded a number of exaggerated mannerisms. He kept his coat unbuttoned. He walked as if in a desperate hurry, which made his coat-tails fly out behind him. There might have been a time in his life when he had smiled naturally — say, when he was two years old. But he had a degree and a diploma and with it went an electric light smile. He switched it on and off.”

But the principal’s electric light smile is not enough to illuminate throughout the storms heralded in the novel’s opening paragraph.

“But throughout that hot, dry summer those black storm clouds clung in thick folds of brooding darkness along the low horizon. There seemed to be a secret in their activity, because each evening they broke the long, sullen silence of the day, and sent soft rumbles of thunder and flickering slicks of lightning across the empty sky. They were not promising rain. They were prisoners, pushed back, in trapped coils of boiling cloud.”

In their own way, the characters in this slim novel push back against those boiling clouds. Coercion and resistance, friends and rivals, tradition and revolution: the boundaries of politics, marriage, and class are examined and challenged in Maru.

Do you collect this series? Have you read any of Bessie Head’s works?



  1. Kinna Reads July 16, 2013 at 12:59 pm - Reply

    Finding out a lot reflected in Bessie Head book including one that you touch on here: characterization. She is simply amazing. Finding also that some characters, though modified, make appearances in subsequent works. Maru here echoes Johnny from The Cardinals (which I will review later this week).

    Thanks for the review and for participating.

    • Buried In Print July 22, 2013 at 9:04 am - Reply

      Thanks for hosting, Kinna. I will definitely be picking up any works of hers that I see, from now on, even if they aren’t in the AWSeries, an imprint which always immediately catches my eye anyhow.

  2. Reading Pleasure July 11, 2013 at 7:19 am - Reply

    A brilliant and incisive review. I also reviewed Maru on my bog. But it pales in significance. Well done

    • Buried In Print July 11, 2013 at 7:44 pm - Reply

      I think our reviews are perfectly complementary; you mentioned all the dynamics between characters that I wanted to mention (and, I agree, his tactics were, ahem, questionable, to say the least). (The link to her review is here, for those who are curious. There are no actual spoilers, only a hint or two.)

  3. Afolabi Rotimi July 11, 2013 at 12:33 am - Reply

    Permit me,please,to quickly chip this in.It’s an excerpt from the epilogue of “A Woman Alone” that echoes in me,that I can easily relate with:
    “…’Who are you?’people asked.
    ‘I am the dreamer and storyteller,’they replied.’I have seen life.I am drunk with the magical enchantment of human relationships.I laughed often.The big,wide free world is full of innocence…’
    “…and for people to know that there are thoughts and generosities wider and freer than their own can only be an enrichment to their lives.”
    What magnanimous display of humility by such an erudite writer!

    • Buried In Print July 11, 2013 at 7:40 pm - Reply

      I’ve got to add this one to my reading list. Thanks for including the quote: it’s just great.

  4. Afolabi Rotimi July 10, 2013 at 6:20 pm - Reply

    I just finished reading Bassie’s autobiograghy-“A Woman Alone” coincidentally in July!
    Her style of writting is so captivating and inviting even to an average reader.She’s an icon of tenacity and simplicity.Her determination and focus in actualizing her dreams is so so contagious. She’s a rare breed. I celebrate Bessie Head. Creating an album for her collections.Reaching out to read more of her works!

    • Buried In Print July 11, 2013 at 7:40 pm - Reply

      You and Sandra alike? I wonder if either of you was actually aiming for this event, or if it was simply synchronicity! Bessie Head is definitely an author to celebrate; thanks to the ‘net for all its bookishness and widening of horizons, literally and figuratively!

  5. Sandra July 10, 2013 at 11:17 am - Reply

    I very recently finished my first reading of Bessie Head’s A Woman Alone/Autobiographical Writings. I was impressed by many pieces in this collection but particularly enjoyed a piece near the end entitled Writing out of South Africa in which Bessie Head offers “a brief outline…of my major themes, the major shaping influences in my life.” The themes and influences she writes of include Christianity, Pan-Africanism. Bertolt Brecht, and a reverence for people. In the very last piece in the collection, titled Epilogue: An African Story, this sentence made me stop and think: “But what happens to the dreamer and storyteller when he is born into a dead world of such extreme cruelties that no comment or statement of love can alter them?” The latter was written in 1972 but it strikes me that it might have been written on this very day. I also read a story called Earth Love in a collection called An African Quilt, Edited and with an introduction by Barbara J. Solomon and W. Reginald Rampone Jr. This was for me an excellent example of head’s “reverence for people” referred to above as a major theme in her work. This was my first read of Head’s work and I will try and get a copy of Maru. For now, I will begin The Collector of Treasures and other Botswana village tales.

    • Buried In Print July 11, 2013 at 7:33 pm - Reply

      Thanks for sharing the quotes, Sandra. This was my first read of her work as well (thanks, Kirra!), but I, too, want to find more. And I’m sure if I were to revisit Maru I would notice different things upon re-reading. And, wow, Brecht? I wouldn’t have guessed. Maybe I need to revisit his works too!

  6. Nana Fredua-Agyeman July 10, 2013 at 9:36 am - Reply

    This is a novel that touches on one of the most important nerve of African culture and behaviour. It is that which has seen the continent tumble and fall into many deep trenches. yet, we have been afraid of confronting it openly. Bessie does it well. This was the second or third Bessie Head’s book I read. Now i’ve added to it.

    You grasp most of what the book is about. I love your foray into the rhythm of her write. You are perfectly right. Bessie is a must read.

    • Buried In Print July 11, 2013 at 7:38 pm - Reply

      Thanks, Nana. I realize that I am a novice in this context, but I’m keen, nonetheless; I’ve really enjoyed all the quotes from her works that you’ve shared on your site (for instance, here and here, for those who don’t already follow your feed). I like knowing that there are many of her works which await.

  7. […] Review of Maru at BuriedInPrint […]

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