Life under Apartheid

My Thoughts On The Last Chapter of Foe

After re-reading the last chapter in J.M. Coetzee’s Foe, I believe the narrator in this section is none other than Daniel Foe. Being that chapter III and IV begin with the same line, “the staircase was dark and mean,” leads me to believe that chapter III was all imagined by Susan and she never reunited with Foe. But, in reality chapter IV can be interpreted as the only truth in this book, which is why the book is titled Foe. Daniel Foe is the only character that knows the truth about Susan and the island.

The chapter begins with Foe walking through a dark staircase and he stumbles over a body. He describes, “it does not stir, it makes no sound,” the body is lifeless, which leads me to believe that a lot of time has passed (153). For example, he informs the reader about the woman wrapped in a grey scarf to “weigh no more than a sack of straw” (153). The remains of a deceased body can compare to a sack of straw, again tying to time that has passed. It takes time for a body to perish. Also he describes skin, dry as paper and receded lips that uncover teeth. It seems that he is trying to find Susan’s remains. For Daniel to take the time to unwrap a dead person’s endless scarf goes to show that he is looking for Susan. The way he walks around the room is as if he is trying to find truth about Susan’s whereabouts. His search continues when he draws back the covers on page 153, “holding my breath, expecting disturbance, dust, decay; but they are quietly composed, he in a nightshirt, she in her shift”. Before the unveiling of these two bodies the reader gets the sense of dust surrounding his nose. Dust can be interpreted as an old and unpleasing smell. However the second he discovers the dead woman, which I assume is Susan, he gets a faint smell of lilac. Typically when one thinks of someone special usually one can smell him or her, which leads me to believe that it was Susan’s remains. He didn’t just say that he smelled something sweet, or flowers, he made sure the reader knew he smelled lilac, which is a very specific smell.

Next, Foe revealed to the readers that he is familiar with the island and the people on it. For example he states: “I find the man Friday…” the only way for Foe to know Friday is by the letters Susan sent to him. Also Friday seems to be the only one who has survived the longest. His body is warm; however his heartbeat is weak. Going back to the Susan’s letters on page 1 she writes, “…a Negro with a head of fuzzy wool”. Foe goes to tug on Friday’s hair and states: “it is indeed like lambswool” (154). For Foe to remark indeed, refers to him knowing that Susan had compared his hair’s texture to wool and makes it evident that Susan did communicate with Foe; once more leading me to believe that the narrator in the last chapter is Daniel Foe.

Lastly Foe stumbles upon one of Susan’s letters which again begin with, “at last I can row no further” (157). This is where it gets tricky and I presume that she didn’t know how she came to the island. By here repeating through the novel that she could not row any further, leads me to believe that she did not know how she wanted her story to begin. The comparisons in the letter that Foe found are the same descriptions he states to the readers which are odd. But I still stand strong and say that Foe is the narrator in the last chapter.

I guess Coetzee is the only one who really knows what is going on.

Sembene Ousmane's God's Bits of Wood

To better understand Fa Keita’s questioning of God, on page 236 he is being mistreated by a guard named, Bernadini. The guard orders Fa Keita to pray near the barbed wired fence and as he kneels Bernadini kicks him in the kidney and plunges him head first into strands of barbed wire. As Fa Keita frees his hands from the wires again he is commanded to pray and is pushed back into the barbered wired. Bernadini shoves his foot into Fa Keita’s neck and mocks his faith. Finally the guard loses interest and leaves to torture others.

Fa Keita’s breath came out in a sigh. ‘God knows I was not for this strike, for I do not like violence in any form, but if God is just, how can He let men be treated so? In all my life, and in the lives of my parents, we have done no wrong to anyone – why then should we be treated so? I do not know if the strike should go on, I do not know what must be done, but I know that something must be done so that we are treated with respect as men…’ page 237.

This passage introduces the questioning faith during a period where evil is dominating the people. Ousmane does an incredible job luring the readers in with his themes and the characters are easily relatable that they connect to the readers. Fa Keita’s statement: “… if God is so just, how can he let men be treated so,” reminds me of a video I saw at an Austrian Nazi camp called Mauthausen. Before you enter the camp they place everyone in a room and play a video. They show interviews of survivors, actual footage of the torment, and at the end there is a slide show of pictures. And they showed this clip of a cell where they kept a woman there to die. She had engraved on the cement wall: if there really was a God then none of this would happen. It was a very moving statement and after the survivors agreed that they too felt that same way. It just goes to show how real Ousmane’s characters are and the choice of words he uses is very effective and believable. It was a very moving part in the novel because anyone who has had tragedy in their life can relate to Fa Keita’s questioning of God. It is a question that has been asked for several years through several tragic events.

Then Fa Keita states that he and his family has never done any wrong to anyone and just can’t understand why this oppression is happening to them. In this world it really doesn’t matter how well you live your life or how well you treat others. There is always going to be evil in this world which is past down generation to generation. From what I understood is the one must keep faith alive although it is hard to do under Keita’s circumstance. For example, if Fa Keita loses his faith at a time of despair the oppressors are not only talking his freedom away, but he is also letting them rob him of his faith. In any situation Ousmane is trying to help the reader better understand that it takes an even stronger person to hold onto their beliefs in a time of chaos.
This expressiveness opens the doors of connecting to all. Although there are numerous ethnicities in this world and some might think that we are different because of our backgrounds, bottom line is that we all feel. We all cry the same way and bleed out the same color and it is important to stand strong. Ousmane ends Keita on a strong note of knowing. Although Keita can’t answer his questions of ‘why’ he does in fact know that everyone man deserves to be treated with respect and that is what needs to be taught to future generations.

100 Days and The Connection with World War II

Nick Hughes’ 100 Days, is a yet another example of history repeating itself. The film reveals the horrid truths of Rwanda’s 1994 genocide. In a hundred days more than 800,000 thousand Rwandans died. Primarily the film exposes the strong connection between the Rwandan Genocide and the Holocaust.

One of the most powerful scenes in the film was in the very beginning when a white priest is speaking to a family about World War II’s Holocaust and an officer is telling a male Hutus that he must organize to kill all Tutsis. Basically the scene jumps back and forth to the past and present. The scene begins with the male Hutus who is being warned about the ‘enemy’ and how it is important to kill all and persuade everyone to do the same. Next the scene jumps to the white priest who states: “In the last war, the Germans committed terrible crimes. Now the Americans also committed terrible crimes. But we don’t remember them, because the Americans won.” This is the first connection Hughes deliberately makes about World WAR II and how the Hutus killed more Tutsis as the Germans slaughtered millions of Jews. Again history repeats itself and nothing was learned from the Holocaust. History isn’t taught to learn from the past; however it’s just more evidence that power controls and corrupts all. In the long run the Hutus and the Germans lost because morally they were wrong and were defeated by allied forces more powerful than them. Tutsis from neighboring countries allied their people and allies form Russia and the United Stares intervened to help defeat the Germans.

The scene continues with the focus on the male Hutus. He looks deep in thought and he flashes back to the officer who states, “Every Tutsi must be moved in the next two days. We are going to clean the whole country. It is your job to make every single person in this town realize that they are a soldier and they’ve got a job to win this war,” the officer’s eyes are blood shot and he looks crazy. He continues to state, “After we are finished there will be no going back to living together because there’ll be no one for us to go back to live with.” The Hutus officer reminds me of a German soldier or even Hitler who persuaded their people to exterminate the Jews. Great dictators such as those in the Rwandan Genocide and Hitler use their power to control. This scene reminded me of a movie I saw in junior high called The Wave where a teacher uses a mental game to show others how easy Hitler came to dominate. Again Hughes does the same in 100 days and this scene displays how easy it is to manipulate anyone with great dictatorship. It is a very powerful scene because even today there is still tension between the Tutsis and Hutus as well as the Germans and Jews.

The end is another message of brainwashing when the camera goes full circle and reveals two children who are also listening and sitting at the table with their mother and father. The two children symbolize the new generations who are still being taught to kill, hate, and be in control as this scene displays. And no matter how many genocides have taken place in the past there will always be an individual who hates and knows how to persuade. Although one knows it’s wrong to kill it is easier to go along then to rebel against those who seek power. It is an amazing opening to an amazing film.

Take a look at these two You Tube videos and witness how history has a way of repeating itself...

Ousmane Sembène's Technique of Themes in Faat Kine

Ousmane Sembene's Faat Kine is a 2000 film set in the present-day Daka, Senegal. This film offers a critical aspect on contemporary, post-colonial Senegal and the status of woman in that society. The major aim of Sembene’s film is to reveal another side of African woman. The protagonist, Kine is a forty year old woman who refuses to live in Africa’s traditional ways. Against all odds she climbs the ladder of success in a male dominated field. She represents a modern, powerful, and threatening woman, to African men. One of the techniques that Sembene uses in this film is the use of repetitive theme.

While, this film expresses African woman in a positive and unfamiliar truth to the audience, it also has a major theme that represents the transition of old Africa to new Africa. Considering that this film was made in 2000, historically the theme of modernization is inevitable, especially with a country that has and is fighting for equality within African realms. This theme is repeated several times throughout the film. However, there were specific scenes that revealed the truths of the old Africa transitioning into the new.

In the beginning of the film there is a scene between Kine and a handicapped man, Pathe Sarr. He goes to speak to Kine and she notices that he is not in the wheel chair she had bought him. Pathe represents an old Africa and Kine represents the new Africa. With this particular scene Sembene reveals to the audience that men are now the fragile and dependant on woman financially. Whereas the old days, woman weren’t allowed to be successful, single or vulgar; Kine exposes Africa’s transition to modern-day realities. Furthermore, the theme of the disabilities is revealed as well. Pathe also symbolizes the old disabled African while the wheel chair represents modernization. There is another scene with Kine’s caretaker, Adele, where she is sits in front of the television eating ice cream. On the television one can view a robotic arm for an amputee. It is on the screen long enough for the audience to see how it works and how mechanical its appearance is. Again the robotic arm reveals innovation taking place in Africa. It is a very short scene and it makes known how inevitable it is for Africa to update and help build better lifestyles.

In addition to Sembre’s use of theme through items, he also reveals the dashiki versus the suit. Towards the middle of the film there is a scene between Diop aka Ndioye (the man who asks Kine for a loan of 30,000 Francs) and Thiom (the banker). Essentially this is one of the most powerful scenes which express modernization at its best. Diop is the old African wearing the traditional dashiki, whereas Thiom is the newer African, in a suit. Through dialogue the audience is also let into how different these men are. Diop has four children by four different women and is losing his business. His customs remain traditional and he lives the typical old fashion male lifestyle. After being rejected by Kine he looks to a male for sympathy; however gets a rude awakening. The men begin to argue when Thiom also rejects Diop for a loan. Diop states: “You know what it is like to have a big family. It bleeds you dry!"Thiom responds, “No, I don’t know about big families. That was my grandfather’s time." Diop looks him up and down, disgusted at his suit and remarks, “You are the embryo of free market neo-colonialism,” pointing his finger in Thiom’s face. However Thiom shuts Diop up by stating, “you are and African from colonial times!” He opens the door and turns his head away from Diop while he exits the door. Thiom walks away calmly and uncaring while Diop stands outside and expresses a shocked face.

The characters, wheel chair, robotic arm, attire, dialogue, and actions represents the clique stating of out with the old and in with the new. Sembene does an amazing job using the repetitive technique of theme.

Greetings

Gabcast! Jackie's Tones #1

Retelling of Aidoo's "The Message" through the driver, Draba Anan

By Jacquelynn Mondragon

It was another day of sitting and driving. I was at a stop when I saw Kobina running towards the bus out of breathe and hysterical. She came to hold the bus for an old lady, Nana Amfoa. This old lady was holding up the bus. She walked like a bird with a broken foot. I didn’t have all day to wait around plus the bus was already full. However Kobina insisted and kept me there with her mindless small talk about respect and who knows what. Nana was on her way to Cape Coast the town of the young and the rich, she had no business there. But Kobina informed me that her only son’s daughter was having her baby removed from her womb.

It just goes to show that modern wives aren’t made like they use too be. There are so fragile and useless compare to one’s mothers. Kobina was upset with my comments but I was right. I see these young wives around town so thin and dry as sticks-I can blow them a away with a gust of air. Even the men on the bus nodded their heads in agreement. Nana’s granddaughter is the perfect example of what I am talking about. She is a modern woman who has to have her baby removed! I never remember hearing about that from any of my mother’s friends.

Finally the old Nana gets on the bus. I greeted her and she kept referring to me as her master. She was a kind woman but an old woman as well. I made her feel comfortable by saying that I had held the bus only because it was for her. She slowly climbed up the stairs resting her weight on the bars. She was finally in and started yelling, “push back” at those who stared at her, as if she were a block of wood. Some suit started yelling back at her which triggered Nana’s mood. But I calmed her and told her to sit by me and tell me about her trip to Cape Coast. She stared yapping about a telegram she received three days ago regarding her granddaughter.

While driving along the usually route I noticed the old lady was looking sick. She kept covering her nose maybe it was the strong smell of petrol that filled the air. Who knows she’s old and shouldn’t be traveling long distances. She just sat and didn’t say much so I just kept driving she did however look very pensive as she stared out the window.

As I was driving I heard Nana crying. And some passenger asked about Nana’s weeping. Esi got upset and started questioning her about pervious conversations. The passenger I didn’t know that baby was dead or alive and quite frankly I don’t think she cared. They were getting out of hand until I interrupted them. I told them I was going to put them out f they continued to cause commotion on my lorry. I turned to Nana and told her that God is with her and not to weep. We had just arrived to Cape Coast and Nana was anxious to get off. However I began to explain that we were still too far from the hospital.. She insisted that she would find her way by word of mouth. I explained that townspeople were impudent and had no respect towards old age. She sat and waited until I drove here there. Usually I don’t go that way but because of her old age and situation, I made an exception. I continued to drive as I overheard Nana telling Esi that she had buried all her children and now she must burry her grandchild.

We finally made it to the hospital. I decided to get off and make sure they were taken care of. It was going to be difficult to find her son’s wife considering she didn’t know her European name. Inside the hospital Nana spoke to a nurse and she was very adamant about us knowing the rules of the hospital because one could only come and visit at three o’clock. Nana pleaded the nurse to help her. She began to cry and the nurse was unsympathetic to her needs. She stated that one couldn’t make any noise in the hospital. W tried calming Nana down hoping the nurse would help her. The nurse finally began to ask Nana questions as to who she was looking for. Nana again explained that it was the only child of her son and his wife’s name was Esi Amfoa. However that was no help to the nurse. She said that there was no one by that name. I told her to tell the nurse why she was admitted. HS e told her that she was there to have a baby removed. The nurse suddenly knew who they were looking for and referred to her as the Caesarean case. The nurse told them to follow her and that they were not allowed to make noise for that was not the hour for visitors.

We followed her and I told Nana that it would be cold where they kept her. I noticed that the new born babies were being feed. We walked in and old Esi saw young Esi covered in nice white sheets. The Doctor stated that she was a tough bundle who had identical twins removed. Her European name was Mary Koomson. The sheets covered her stitches.

Nana somersaulted into her room and whimpered next to the bed. I was confused at to what was going on. The Nursing Sister grew angry at us. Young Esi spoke causing old Esi to burst out in tears. She cried loudly until all her tears poured out.

I noticed Jessy Treeson staring hard at old Esi. She stood there is her starched uniform, apron, and cap. Then she dismissed all of us. I wanted to kick her in her rear end but figured I would break my toe.

I waited for old Nana as she kneeled by young Esi’s bed trying hard to rise and she stared at the only pot which refused to break.

Survivor Review

By Jacquelynn Mondragon

Once again, I returned to the Pan African Film and Arts Festival, Sunday morning. The atmosphere was still upbeat; however I noticed it was a little more crowded then my last visit. This time the audience ranged in age and there were a lot more ethnicities other then African Americans and Africans. The line grew very long and the people grew anxious, considering they were behind thirty minutes.

I was very interested in viewing Nicole Volavka’s short film, Survivor. The movie in length is fifteen minutes long. The story takes place in the London and is centered on a Rwandan, night cleaner, Ben. The movie begins with Ben cleaning an office and setting a mouse trap under the desk. He proceeds to dust off three picture frames that captivate him. The pictures are of white families and he picks one up and one can assume he is thinking about his family. His eyes seem very connected with the picture until his boss comes in and pulls him away from his emotions.

They continue into the boss’ office where Ben is introduced to Theo, who is a Sudan survivor hence, the title from Darfur. Theo is sitting in a chair clenching onto his duffle bag. He looks very timid and non conversational. The boss orders Ben to show him the house, where he is to rent out a room. Ben on the other hand gives him a dirty look. He argues with the boss in front of Theo, in regards to showing him around the house. The boss once again commands him to do so and Ben storms out leaving Theo behind.

The camera angle reveals Ben in front where Theo is behind trying to catch up. The view shows the early morning, the London streets, and their small home. They go inside and the audience learns about their living situation. It is a very small living room with an even smaller kitchen. The coffee table has a full bottle of liquor next to an old couch. Ben gives Theo a key and tells him his room is in the far back. The scene ends with Theo going up stairs.

Day turns into night and Ben is off to work. The audience learns that there are two other men who live in the same home playing cards and drinking. As far as I can remember, they’re never named and they try and persuade Ben to play with them. Ben looks over and sees Theo sleeping in a chair shaking as if he were having a bad dream. The nameless roommates laugh and make rude comments about him. They continue to beg Ben to play. However Ben protests and they taunt him repeatedly yelling, “what are you afraid of?!” Ben speaks and assertively states: “I am afraid of many things like you and everyone else.” The audience began to clap and was very into this film. Ben exits the house and is off to work.

The scene opens up with Ben under the same desk he was cleaning in the begging of the movie. The camera shows a close up of Ben’s finger and the mouse trap. His fingers were bleeding and again the audience was talking back to the screen. He runs into what looks like a closet/cleaning area and as he tries to turn on the light the bulb goes out. Ben is very hesitant to go into the dark room. Staring at the bulb he proceeds and for me this is when the movie got exciting. In the dark, Ben begins to hear the cries of children and woman and the chilling sound of men being slaughtered. Ben is screaming holding his hands to his ears. The camera is moving in circles until the boss comes in and grabs Ben on the shoulders. He tries to remind Ben that he is no longer in Rwanda that he is in London. Ben runs out and the sounds of war follow him into an alley where he envisions dead corpses. He finally makes it home where he finds Theo watching the news about the war in Darfur. He yells and commands that the television be turned off; however Theo is so wrapped in the news that one can assume he can’t hear Ben. Ben is overwhelmed by his memories that he runs over to the television and turns it off and screams, “You are not there, you have to forget about that place!” Theo responds, “My family is missing, I can never forget!” It was a very powerful scene and a lot if revealed about the characters in a matter of minutes. Ben walks over to the kitchen and makes a sandwich and cuts in half. He walks over to Theo and hands it to him “This will give you strength,” Ben calmly says. Theo thanks him. As Ben sits next to him, Theo hands him the second half of the sandwich, they lock eyes and the movie ends.

The audience was so blown away by this film. As soon as scene faded away the audience began clapping, gasping, and a woman behind me even whispered wow. I on the other hand felt like I missed something. I was lost and very disappointed by the end. I was left wanting more and maybe I was too busy taking notes that I lost what the film was about. I guess I expected more and was really upset that I didn’t have the same reaction as the audience. I looked over at my friend and he was also lost. By the reaction of the audience I would recommend this film and hope one could better explain it to me.

A Walk to Beatiful Review

By Jacquelynn Mondragon

I had the pleasure of attending the 16th annual Pan African Film and Arts Festival (PAFF) held in Crenshaw, California. It’s where one can get to see a cultural side of film instead of the same Hollywood motion pictures that are released every Friday. The PAFF has directors predominantly from all regions of Africa. It was a different movie experience. In line, I noticed the supporters attending were mainly older, black/Africans, with few Caucasians, and Latinos. Quite a few African men and woman were dressed in colorful orange, red, green and yellow Dashikis. Everyone was very conversational and recommending movies back and forth. I meet several people that had been attending for years and were pleased to see a young Latina taking part in their culture. Inside the theater the audience at times yelled at the screen when something dramatic happened. The overall environment was great. As for the films, I choose Mary Olive and Amy Bucher’s documentary film, A Walk to Beautiful.
A Walk to Beautiful is about five Ethiopian women: Yenenesh, 17, Wubete, 17, Almaz, 38, Zewedie, 30, and Ayehu, 25; who all suffer from obstetric fistulas—tissue tears from pregnancy creating holes between the vagina and the bladder or rectum. The holes are caused by extended labor and difficult birth, resulting in delivering a dead infant, and cause the mother to leak blood, urine or feces until treated. Ethiopian woman who live with this condition are ostracized by their husbands, siblings, villages, friends, and worse their parents. They are forced to live in a shack behind everyone in their community, limiting their contact with all.
Ayehu had an impacting scene in the begging of the movie where the camera is shooting her legs drenched in urine and the camera slowly moves to her close up. Her eyes are filled with tears and sadness. She explains feeling like an incontinent pet. Everyone ignores her and talks down to her because she can’t fill the role of an Ethiopian woman. She can’t bear children or keep her husband satisfied. She describes times where hyenas have tried to eat her and no one comes to her aid. It’s a horrifying reality to see what these five women go through. Each one gives their back-story about their condition and what outcomes they’ve endured. Ayehu’s statement: "Even death would be better than this. This is not life,” broke my heart.
Another powerful scene was with Almaz. She has four children and on her fifth pregnancy deformed her vagina and caused double fistula problems. She can’t hold any of her bodily functions. The husband leaves her for a younger woman who can deliver his children and slanders Almaz on camera. He mentions that she is useless and he is a man with needs that she can no longer fulfill. The audience sighed in raged and two women screamed at the screen. It was intense to see this man so uncompassionate to the mother of his four children. Almaz cries and explains that her parents are very neglectful as well. The close-ups on these woman are amazing and their plain faces are over powered by their sad eyes.
Out of the entire woman, Wubete’s story broke my heart and filled my eyes with tears. She is an amazing young woman and I connected with her. Her father beat her growing up and married her off several times. However being a modern, young woman, and never wanting the traditional Ethiopian life style as a mother, lover, and servant; she never wanted to be married. She wanted to go to school and be free from men. The last marriage that she was forced into she escaped pregnant and delivering a still born. The head of her fetus was rubbing against her uterus causing several holes in her bladder and vagina. She describes having no one and she is not allowed back to her village. Her mother died when she was young and remarked that her mother would have never allowed her to be married off and given the lifestyle her father imposed on her. She was forced to work and carry heavy jugs on her back which stunted her growth. She says, “I grew up too fast and now I am so small and useless.” Her voice sounds melancholy and she cries the most. I was saddened by her father’s mistreatment and her wanting an education that she can’t afford. Largely she is simply beautiful and stayed in my heart.
After each woman describes their experiences the camera follows each one as they say goodbye to their family and head out on foot to a clinic in Addis Ababa. The clinic is known to surgically repair their injuries in hopes of giving back their life. Each scene is filled with great angles of their feet on dirt and overhead displaying the long dirt road towards the sunset. The music in each scene is beautiful. It has a lot of violins and drums beat at every step they take.
Following their journey they all make it to the hospital where they are interviewed, given a physical, and bed. Each woman is shocked to see so many of them living with the same injuries. It was moving when Yenenesh with a smile stated “I am not the only one with this problem, there are several of us.” As soon as these ladies are admitted their facial expressions change. Everyone accepts them and they are finally able to converse with others, building their confidence.
Considering they’re planning to open this movie in several theaters in Los Angeles, I won’t go into the specifics of the ending, and will defiantly keep you updated on the date of its release. So without spoiling the end, I was pleased by the results and the symbolism of new clothes which is breathtaking. They close the movie with a remake of “Amazing Grace” which was prefect and set the mood. I feel so inspired by this film and I never knew this type of injury could occur from enduring labors. I feel fortunate that these ladies shared their souls with all who wanted to listen. The scenic shots and music were amazing along with the translation of the Amharic language. I defiantly recommend this movie to everyone.

Here's a link to catch a clip of the movie enjoy!
view trailer

It's All About Me

Jacquelynn Mondragon is a 24 year-old senior at California State University, Northridge, where she is currently attempting to earn her Bachelors of Arts, in English with a focus in creative writing. Followed by her B.A. she intends to acquire a teaching credential so she can maybe become the next Erin Gruwell and have a motion picture made in her honor. She believes that every student can be reached and stands by her motto while working in elementary schools, controlling the behavior of autistic students, as a one on one. At times her job can be very overwhelming and challenging; but loves the impact she is having on her students, and is thankful for the opportunity to meet these special need students, with vibrant personalities and big hearts. She is currently living in Los Angeles’ San Fernando Valley, with her mother, Patricia and older brother Michael, who just came back from Iraq.