Translation of African novels into English marks a significant shift in the literary landscape.
Translating the novel Mapenzi by Ignatius Mabasa presents a unique challenge due to the richness of its prose, which is infused with elements of poetry, satire, and playful language. The work is deeply entrenched in the Shona idiom, which adds layers of meaning and cultural context. The publication of The Mad, a translation of this notable Zimbabwean novel, signifies a pivotal moment in the movement of African literature towards a broader audience.
The Mad is part of a new series titled African Language Literatures in Translation, initiated by the University of Georgia Press and edited by literary scholars Christopher Ouma and Alexander Fyfe. This series aims to highlight significant African works originally composed in various languages, including Shona, Kiswahili, and Sesotho, thereby expanding the representation of African narratives in English.
The Mad, co-published by Carnelian Heart Publishing and amaBooks, allows English-speaking readers to experience Mabasa’s narrative in a way that retains the original’s rhythms and sensibilities. The novel, first published in 1999, offers a poignant portrayal of a disillusioned young war veteran who navigates the complexities of independence and societal collapse in Zimbabwe. It has been recognized as a landmark text in Shona literature, drawing comparisons to the works of notable authors like Dambudzo Marechera and Charles Mungoshi.
Over the years, Mabasa has become a significant advocate for indigenous African writing, notably being the first scholar to submit a PhD in Shona at Rhodes University in South Africa. His efforts underscore the vibrancy and complexity of languages like Shona, challenging the notion of them being minor languages. The translation of Mapenzi into English, now available as The Mad, represents a momentous occasion for readers who are encountering this work in a new linguistic context.
However, while the translation by J Tsitsi Mutiti captures much of Mabasa’s lyrical style, it is noteworthy that the translator remains largely unacknowledged in discussions surrounding the book. This lack of visibility can undermine the essential role that translation plays in bridging cultural and linguistic divides. The intricacies of translating Mabasa’s work, which includes innovative chapter titles and a playful narrative structure, require a nuanced understanding that can sometimes be overlooked in the absence of a translator’s note.
Despite occasional moments of flat translation, particularly in dialogues, Mutiti’s work largely succeeds in preserving the original’s texture and spirit. The significance of The Mad extends beyond mere accessibility; it serves as a critical practice that reshapes the canon of African literature and enhances its global visibility. As the literary landscape evolves, the emergence of translations like The Mad fosters a greater appreciation for African languages and narratives that have historically been marginalized.
In a broader context, this shift in translation practices invites a reevaluation of African literature and its origins. The Mad stands as a testament to the vitality of vernacular storytelling and highlights the transformative potential of translation in connecting diverse audiences to rich cultural heritages. This moment marks not just the release of a novel, but the beginning of a new chapter for African literature in the global literary scene.
