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Contents
editorial
IMRAAN COOVADIA
Living with sorcerers
ZEINAB SHAATH
The Urgent Call of Palestine
ALLAN BOESAK
“HOW LONG FOR PALESTINE?”
MAKHOSINI MGITYWA
The Crux of the Matter
MALAIKA MAHLATSI
On the genocide in Palestine and the death of academic freedom and democracy in Western universities
BRANKO MARCETIC
Israel’s Gaza War Is One of History’s Worst Crimes Ever
CHRIS HEDGES
American Sadism
ARYAN KAGANOF
On Power and Powerlessness: Genocide in Gaza Through the Lens of Afropessimism and Decay Studies
MICHAEL SFARD
We Israelis Are Part of a Mafia Crime Family. It's Our Job to Fight Against It From Within
Theme Gaza
ZEENAT ADAM
Gaza and the Graveyard of Excuses
MAHMOUD AL SHABRAWI
Writing Between Fear and Survival
GOODENOUGH MASHEGO
Why I can’t condemn October 7
GARTH ERASMUS
Lamentations for GAZA
SALIM VALLY and ROSHAN DADOO
Africa’s strong bonds to Palestine
ZUKISWA WANNER
A Common Humanity
MUHAMMAD OMARUDDIN (DON MATTERA)
A Song for Palestine
TSHEPO MADLINGOZI
Ilizwe Lifile/Nakba: Le-fatshe & Crises of Constitution in (Neo)Settler Colonies
SINDRE BANGSTAD
Palestine, Israel and academic freedom in South Africa
GWEN ANSELL
Resistance music – a mirror reflecting truth; a hammer forging solidarity
FMFP (FREE MUSIC FREE PALESTINE)
Listening as an anti-colonial way of engaging
ATIYYAH KHAN
A movement against silencing: What the genocide in Palestine has taught us about journalism
ASHRAF HENDRICKS
Visual Memoirs of Solidarity with Palestine in Cape Town
ATIYYAH KHAN
GAZA: Where wearing a PRESS vest is a death sentence
VISUAL INTIFADA
NARRATIVE REPAIR
SHARI MALULEKE
A Prayer to the Olive Tree
THANDI GAMEDZE
Jesus of Occupied Palestine
NATHI NGUBANE
MALCOLM X IN GAZA
MARIAM JOOMA ÇARIKCI
The dark side of the rainbow: How Apartheid South Africa and Zionism found comfort in post-94 rhetoric
CRAIG MOKHIBER
The ICJ finds that BDS is not merely a right, but an obligation
ROSHAN DADOO
South African coal fuels a genocide: BOYCOTT GLENCORE NOW
IMĀN ZANELE OMAR
From the ground
DEAN HUTTON
Who would you be under Apartheid?
galleri
SÍONA O’CONNELL
Keys to Nowhere
SAMAR HUSSAINI
The Palette of Tradition and other, earlier works
SLOVO MAMPHAGA
Chronology of the Now
DEON MAAS
The Resistance
OLU OGUIBE
A Brief Statement on Art and Genocide
CANDICE BREITZ
8 may 2025 Berlin
ADLI YACUBI
A Moment Is On Its Way
TRACEY ROSE
If Hitler Was A Girl Who Went To Art School (2024-2025)
borborygmus
CHARLES LEONARD
Zeinab Shaath : the famous Teta
THE ALDANO COLLECTIVE
Withold
DIMA ORSHO
Excerpts from Half Moon, a film by Frank Scheffer
GARTH ERASMUS
Where is God?
LOWKEY FEATURING MAI KHALIL
Palestine Will Never Die
CHRIS THURMAN
Intertexts for Gaza (or, Thirteen ways of looking past a genocide)
KEENAN AHRENDS
The Wandering Dancer
NATHAN TRANTRAAL
‘D’ is vi destruction
INSURRECTIONS ENSEMBLE
Let Me Lie To You
RODRIGO KARMY BOLTON
Palestine’s Lessons for the Left: Theses for a Poetics of the Earth
MARYAM ABBASI
Drums, Incense, and the Unseen
frictions
HIBA ABU NADA
Not Just Passing
NICHOLAS MIRZOEFF
The Visible and the Unspeakable (For Mahmoud Khalil)
MPHUTLANE WA BOFELO
Before You Kill Them
ABIGAIL GEORGE
4 Struggle Songs for Palestine
MIKE VAN GRAAN
4 Poems for Gaza
EUGENE SKEEF
To The Demise of War Mongers (a suite for the people of GAZA).
ALLAN KOLSKI HORWITZ
Gaza: two poems
MALIKA LUEEN NDLOVU
At the end of a thread, holding my breath, beading
NGOMA HILL
From the River to the Sea
JESÚS SEPÚLVEDA
Gaza 2024
ARYAN KAGANOF
GAZA (body double)
VONANI BILA
Under Rubble
JACKSON MAC LOWE
Social Significance
FRANK MEINTJIES
5 poems from A Place to night in
DIANA FERRUS
Burdened man
claque
FINN DANIELS-YEOMANS
‘If Cannes did not want to go to Gaza, Gaza had to go to Cannes’: Institutional Censorship at Film Festivals post-October 7.
FRANK MEINTJIES
Abigail George’s SONGS FOR PALESTINE - "struggle poems" in an age of livestreamed genocicde
PHILLIPPA YAA DE VILLIERS
ukuphelezela and Nida Younis’ Two Bodies/Zwei Korper
RUTH MARGALIT
Writing the Nakba in Hebrew
NATHAN TRANTRAAL
Ons is gevangenes van dit wat ons liefhet: Magmoed Darwiesj gedigte in Afrikaans
HEIN WILLEMSE
Frank Meintjies: a mature poet, intellectually astute with a refined social, political and ecological consciousness
M. SOGA MLANDU
'Tell Them I Am Dead’: Sithembele Isaac Xhegwana’s Dark Lines of History
NIKLAS ZIMMER
Détourning the cut
ekaya
LYNTHIA JULIUS
I believe the children for the future
JENNIFER KESTIS FERGUSON
Nikita
CHERYL DAMON
No Ordinary Rage
SKHUMBUZO PHAKATHI
Don’t forget Phila Ndwandwe
INGRID ORIT HURWITZ
SHATTERED
STEVEN ROBINS
The blindspots of Zionist history and the ‘ancient scripts’ of primordial Jewish victimhood
LIESL JOBSON
Sorrowful Mysteries
herri
Towards a Preliminary Archaeology of herri
off the record
STEPHEN CLINGMAN
The Voices in My Head: Reflections on South Africa, Israel, Palestine, Gaza
ANNI KANAFANI
Ghassan Kanafani
FILMS
by Palestinian Women
STEVEN ROBINS
Re-reading Jabotinsky’s The Iron Wall in the time of genocide in Gaza.
JANNIKE BERGH in conversation with HAIDAR EID
Even Ghosts Weep in Gaza
ASHRAF KAGEE
Three friends in Gaza
AMIRA HASS
"Resist the Normalization of Evil": On Palestine and Journalism
GEORGE KING
Fields, Forests and Fakery: ‘Green Colonialism’ in Palestine
HEIDI GRUNEBAUM
The Village Under the Forest
MEIR KAHANE
Jewish Terror: A JEWISH STATE VERSUS WESTERN DEMOCRACY
FRANK ARMSTRONG
Ireland and Palestine: A Crucial Vote Awaits
NIKHIL SINGH
The Siege of Gaza 332 BC
feedback
DENIS EKPO
1 April 2025
DEON-SIMPHIWE SKADE
23 March 2025
LIZ SAVAGE
10 January 2025
CEDRIK FERMONT
10 August 2024
AZSACRA ZARATHUSTRA
6 August 2024
FACEBOOK FEEDBACK
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PhD
COLE MEINTJIES
Power in Relation to Life and Death: Israel's genocide in Gaza
the selektah
CHRISTINA HAZBOUN
Palestinian Women’s Voices in Music and Song – 2025 version
ATIYYAH KHAN
IQRA!
hotlynx
shopping
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contributors
the back page
MICHAEL TAUSSIG
Two Weeks In Palestine
GEORGE STEINER
This is called History
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M. SOGA MLANDU

'Tell Them I Am Dead’: Sithembele Isaac Xhegwana’s Dark Lines of History

Sithembele Isaac Xhegwana is a celebrated South African author and curator at Amazwi South African Museum of Literature. His debut novel The Faint‑Hearted Man (1991) was long‑listed for the Noma Award. His poetry collections, including Scatter the Shrilling Bones (2003) and Dark Lines of History (2023), have earned critical acclaim and literary awards.

To many readers of English literature, Sithembele Isaac Xhegwana is known for his previous publications — his novel The Faint Hearted Man (Buchu Books, 1991) which he published while doing matric at Kama High School. Through legal precincts and contractual obligations constraining the community-based publishing house that discovered the young Xhegwana, this work is found in almost every public library in South Africa and also other university libraries and legal holding institutions abroad. It should also be noted that this debut work competed for the then coveted Noma Award for Publishing in Africa.

After a gap of almost 12 years, this was followed by his first poetry collection Scatter The Shrilling Bones (Lovedale Press, 2003). A portion of this publication was previously included in a thesis for his Master’s Degree in Creative Writing which he obtained in 2002 from the University of Cape Town. At a certain point, this important work was also in the prescription list for Grade 11 in the Northern Cape Province of South Africa.

I bought a personal copy of Dark Lines of History from Mr Xhegwana when we met at the 2023 Amazwi based annual Arts Festival (Litfest) where he works as a research curator. I already knew Sithembele Xhegwana from our initial meeting at the book fair which was held by Mr Mxolisi Nyezwa’s Imbizo Publishing in 2003 in Nelson Mandela Bay where, just after his first collection of poems was published, he represented Lovedale Press.

This Afrocentric poetry of Mr Sithembele Isaac Xhegwana, which prides itself on its originality, humanity and spontaneity mainly celebrates Africa’s greatness – its past and present glory. One might correctly see it as being rooted on the 1960s philosophy of Black Consciousness as it stringently pays homage to Africa’s culture, history, systems and institutions. 

In this book, he has a number of praise-songs on African history figures. In a poem ‘Hintsa’s Portrait’ (p. 9) Xhegwana praises King Hintsa of amaXhosa for his heroism as commander-in-chief of the amaXhosa warriors that resisted the colonial infiltration in the nine Frontier Wars. He also laments King Hintsa’s death in that most brutal confrontation, particularly the mutilation of his body and the consequent exportation of his head to England:

Here he stands, as a figure

of Xhosa Royalty. That only

through political manoeuvring,

Smith could be the true meaning

of a traitor.

Yet, this portrait cannot reflect

the realities of the many voices

still crying for a ceded throne,

Of which the climax was

the burning of Hintsa’s kraal

and the mutilation of his body.

And even more, the exportation

of the king’s head to the colonial

masters…

On the above-mentioned sentiments Professor Ndlela of the University of South Africa department of English states, 

From an award-winning poet, including the most coveted South African Literary Award in 2024, these poems constitute a significant addition to our post-1994 literary landscape. Autobiographical in nature, they constitute more than a quilt-like portrait of the author’s trials and tribulations. They also embrace and reflect on the South African historical and socio-political burdens. By default, Xhegwana emerges as someone who wears many caps: a diviner, a poet, a historian, and a preacher. In some of these poems, he takes the reader back to the turbulent days of the Xhosa wars of resistance against marauding British colonizers who were armed with the bible, the gun and the cannon.

The above-mentioned scholar continues,

Speaking with a multiplicity of voices, we also hear echoes of Mtshali, Sepamla and Serote’s strident voices in this exciting oeuvre. This is a revolutionary project that makes a strong case for the centering and recognition of the indigenous knowledge system — systems that were bastardised in colonial and apartheid South Africa. Not only that – these poems are also a response to the country’s decolonisation of the curriculum paradigm. In one of his poems published elsewhere, ‘Ngxingxolo’, Xhegwana writes:

‘Huge barrels filled to the

brim with sorghum foams,

sacred herbs indulged, only

fit for a future king’s home-

coming celebration. A royal house

sanuse officiating the assembly,

floating above the lifted hands of the

shimmering waters, enroute the

concealed abode of the faded

prince, a lion kareose, umnweba,

venerated kingship stuff and relics

of a regal Xhosa throne.’

In the poem, ‘In Memory of Makhanda’ (pp. 49-51) he praises Makhanda ka Nxele, the visionary who was deployed to a certain wing of the Xhosa Kingdom for his bravery in the war that was between  amaXhosa and British armies. This particular heroic encounter culminated in Makhanda being arrested and imprisoned in Robben Island:

… You marched down, and embraced

The pains of your people

Not only that you were

On the battle line

And never feared,

And never moved…

Also, at the centre of this work, is Xhegwana’s self-portrait, particularly his religious life.

Poems like ‘Homecoming’ (pp. 17-18) and ‘Rites of Passage’ (pp. 4-5) mark his spiritual journey from being an ordinary member of Methodist Church to a devout Christian, the ‘saved’, then to being a leader of his own church, and later being an ancestor worshiper who has undergone the diviner’s training as a sangoma who combines the reading of the Bible (ukuhlahluba), oracle cards and the throwing of bones for his consultations (do we perhaps have another Credo Mutwa now?).

In their binary manner, Christianity and the Western canon of education are both culprits for his own version of ‘exile’. The first paragraph of the ‘Introduction Note’ (pp. v-viii) of this book goes thus: ‘As clearly articulated in my recently published essay, “Notes On An Aesthetic”, the promise of education and the redemption promised by the Christian Bible laid its claims on me through disastrous, monstrous experiences.”

Then in the poem, ‘A Reminder’ (pp. 33-34), which is one of many powerful poems in this collection, he identifies two forces that he says are competing for control over him, that is the village and the city, that he coins as two great forces. He euphemistically tells the reader that he is a man of two worlds — the village and the city. This polarity of life is a trend for African citizens:

think of me

when the country

and the city seem

to be pointing

fingers at each other

as if they were servants

serving different masters.

It was my theme.

think of me

when these two great

forces that work behind

the scenes of our lives

lay their bruising

claims on the object:

an image, of my poetry.

When they bang and hit

the mystery object: my

image helplessly caught

in between beyond any

point of recognition.

It is still my theme.

think of me

when the country hobbles

around to greet the city.

I would never say such.

the dreams of the

blazing flames projected

towards the city trouble

my mind, the hope of a

damned hell posthumously

awarded to the ‘troubled’

village is a big joke.

This would never be my dream.

think of me

when two simple humans

struggle to hear each other.

I persist,

It is my theme:

when the country and

the city fail to recognize

the earth which will

always be the common

factor.

As the abovementioned poems confirm, Mr Xhegwana’s style of writing is simple. It is actually aligned to that of the writers of the People’s Poetry which was written in South Africa and Southern Africa during the struggle period of 1970s and 1980s. It is called so because of the following reasons: its poetics are decodable to all categories of readers (poets, academics and general audience); its concerns are about daily matters of the ordinary people and it can be performed. The list is endless. 

On top of that, each of Mr Sithembele Isaac Xhegwana’s poems achieves the aesthetic of what I believe a poem should; not only an intellect-stimulator but a soul-bound, compressed and patternized expression with clues for the reader to understand and appreciate ramifications of its subject.

His excellent style of writing is also embedded in the following poem, ‘Death Wish’ (pp. 15-16). As argued by Professor Ndlela, as elucidated in the above-mentioned poem, at times he comes across as a rebellious child questioning things that were considered sacrosanct by traditionalists:

Tell them I am dead,

To all the wishes of the dead.

The stars, the moon, what more?

No longer matter in my world.

Tell them I am dead,

Stone-dead, beneath the red-dotted sky.

The drizzling, down-pouring of the rain

Struggle to touch my sand-coarsened lips.

The winds that stride can no longer move me

The waves, the storms can no longer shake me.

I am dead,

To the songs sung by the ghosts of yesterday.

I am dead,

To the clinker of the spears and the shadows of the shields.

The goat, the groaning bull,

Is no redemptive equivalent:

I am dead also,

To the trickery of the foreign gods

I will not mourn the black beauty.

I will not detest the white legacy.

Perhaps I should conclude this review with an editorial note by New Contrast’s Sihle Ntuli, reflecting on Mr Xhegwana’s isiXhosa submission to the September 2023 issue of the journal:

The amazing isiXhosa poetry of AMAZWl’s Sithembele Xhegwana reminds us of the beauty of our indigenous languages. The question of the need to ghettoise our cultures and heritage for a single month is still quite baffling. So dear reader, this may be the point at which one should meditate and consider replacing the term ‘decolonisation’ in favour of the word ‘reindigenisation’, as there is a current debate about the former still centring the coloniser. 

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