He opens the novel with a lyrical description of the South African country side, of the white man’s lush land, of the hills that “are lovely beyond any singing of it” (33).He paints a picture of a land that is “holy” and “well-tended”, and asserts the symbiosis between man and nature: “Destroy it and man is destroyed” (33).Tags: Design Public Space Thesis UrbanMid Term Break Analysis EssaysMy Family Support Me EssayOpen University Creative Writing CoursesDiscrimination In America Today EssayWifi Has The Self Assigned IpDerek Walcott Biographical EssayPlan De Dissertation LitteraireBusiness Meeting Planning Software
A car almost hits him because he doesn’t know what to do.
In the movie the reporter just wants to do a few stories about what it is like being black in apartheid. These are the biggest parallel themes I could find between the navel and the movie.
The disparity of wealth between the two racial groups is made apparent in the juxtaposition of these two landscapes.
Paton goes on to reason that this disparity is the cause of their broken tradition: “The men are away, the young men and the girls are away. The mines are later used as another representation of the anguish caused by racial inequality.
Ndotsheni is a place of values and community, as is exemplified by a little girl’s visit to Kumalo’s home at the beginning of chapter 2 (35).
Kumalo offers the child a meal from his own humble provisions, for he knows that she is poor and hungry (35).
In stark contrast, he goes on to describe the barren and fruitless land of the native villagers, where “too many cattle feed upon the grass, and too many fires have burned it” (33-34).
He states that man and the land are one, and depicts the landscape with violent imagery to allude to the violence enacted upon the native people; where the soil is overworked and impoverished, so too are the men and women (34).
Along this journey, Kumalo discovers the desperation of his people and gets a taste of the overwhelming fear that permeates the country and lies at the heart of South Africa’s struggle.
In a parallel narrative, Paton follows James Jarvis, father of recently killed social activist Arthur Jarvis, as he endeavours to understand his son’s work.