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Extra resources for Body, Sexuality, and Gender: Versions and Subversions in African Literatures 1 (Matatu, Numbers 29-30)
Tanga does not tell Anna–Claude her story – she gives it to her in response to her request: “Donne-moi ton histoire […]. Donne-moi ton histoire”;14 Nor does Anna– Claude merely listen to Tanga; she gives herself – at first only her hand, later her whole body. The verb ‘to give’, ‘donner’ in French, constantly recurs in the prison passages in order to introduce the narrative passages of the voice telling Tanga’s story – for example, at the beginning of the novel: “Alors, entre en moi. […] Donne-moi la main […].
1 (2003): 12–28. Fataneh, Farahani. “Veiled References: Narrative Constructions of ‘Exotic’ Female Desire,” paper presented at the Sex and Secrecy Conference, University of the Witwatersrand, Johannesburg, 22–25 June 2003. Jantzen, Grace M. “Good Sex: Beyond Private Pleasure,” in Good Sex: Feminist Perspectives from the World’s Religions, ed. Patricia Beattie Jung, Mary E. Hunt & Radhika Balakrishnan (New Brunswick NJ & London: Rutgers UP, 2001): 3–14. Jeater, Diana. Marriage, Perversion, and Power: The Construction of Moral Discourse in Southern Rhodesia 1894–1930 (Oxford: Clarendon, 1993).
Zandile prides herself on her sexual contacts and her knowledge of every corner and every history of the street in addition to her sense of achievement: “I built my own house in Makokoba not out of asbestos sheets, but out of brick and cement. It is one room, but it is my own solid shelter” (110–11). ” Phephelaphi’s aspirations are rooted in Makokoba; “her idea of progress includes United School” (60), where she intends to train as a nurse. Boyidi, an inarticulate man, hardly has any ambition beyond Zandile’s sexual orbit.