admin
Elliot Ziwira, At the Bookstore
Ropafadzo Mupunga’s novel, “Revai”, published by Zimbabwe Women Writers, is a masterful exploration of the intricate web of social issues plaguing African societies.
Through the eyes of a widowed protagonist, Revai, the author explores the themes of superstition, spirituality, inheritance and charlatanism, adeptly weaving a narrative that transcends gender limitations.
Set against the backdrop of a patriarchal society, Revai’s story powerfully testifies to women’s struggles in a world that often marginalises and silences them. Although Mupunga uses a simple chronological plot, novelty is maintained through interaction and merging of individual psyches for an all-inclusive national discourse.
The deliberate use of conventional setting evokes visual, aural and tactile images, giving credence to the portrayed fictional experience, and illuminating the voyeur in man’s heart.
Mupunga suggests that as man struggles to harness his environment in a quest to tame fate for selfish aggrandisement, he exposes himself, making him a sour loser in a game he purports to instigate and champion.
As the story begins, Revai’s hardworking husband, Vengai, dies. The protagonist is left at the mercy of her stepsons, Kenas and Costa, while she has to raise four minor children, three of whom are in primary school.
To compound the situation, the last child is barely five years old.
With precision and nuance, Mupunga exposes the destructive nature of superstition and the ways in which it can breed animosity and encourage laziness. During Vengai’s funeral, accusations of witchcraft are carelessly thrown about, with veiled pointers directed at Revai as the architect of her husband’s death. The deceased’s sister, Mai Ratidzai, and brother, Tongai, are central to these accusations.
Matters come to a head when the stepsons, who are majors, join forces to disinherit the protagonist and her children. The inheritance, which in the eyes of those who have traversed the world, may not be much, is a lifeline in some neighbourhoods.
Vengai’s fortune, the envy of his community and a bone of contention in his family, comprises 10 head of cattle, 10 goats and an equal number in sheep. The distribution of this “wealth” sets tongues wagging, leaving an abattoir of bleeding hearts, and a broken family. As all this reels out, Revai is exposed to the community’s glare.
Mupunga’s thoughtful portrayal of Revai’s journey sheds light on the importance of pliability and determination in the face of adversity. Through Revai’s character, she consummately illustrates the ways in which women are often robbed of their agency and inheritance. The writer highlights the injustices faced by women in patriarchal societies, where they are frequently denied their rightful place in the family and community.
Commonly, in most African societies girls are divested of their fathers’ inheritance, since it is feared that they would benefit their husbands or future spouses’ families. For this reason, the heroine’s three daughters are excluded from their father’s estate. Her only son, Tawanda, who only gets a cow and a goat, is considered too young to inherit much.
Vengai’s three male relatives—Kenas, Tongai and Costa—as patriarchy prescribes, get three beasts, three goats and three sheep apiece, Mai Ratidzai inherits the radio and other smaller items, while Revai and her daughters are left with nothing.
Revai’s struggles, therefore, demonstrate the need for gender equality and the importance of challenging harmful societal norms. As society connives to whip her into line, Revai is penalised by Sabhuku Gondo for distributing her husband’s estate without the traditional leader’s blessing. For this offence, she loses the only goat that her son inherited.
With the blows coming unabated to test her fighting spirit, the protagonist loses her son’s cow, again, to the village head. Her crime this time around is her daughter, Yeukai’s exchange of blows with Gondo’s daughter, Dzorai, who is married to Revai’s stepson, Costa.
Everything which she and her husband toiled for gone, the heroine refuses to have her soul dissipated. Determinedly, she resolves to single-handedly raise her children against the storm.
One of the novel’s greatest strengths lies in its deep exploration of religious beliefs. Mupunga skilfully depicts the coexistence of Christianity and African religion, carefully balancing the belief systems to highlight their capacity for both destruction and redemption.
This nuanced portrayal allows readers to glimpse into the complexities of religious beliefs in African societies, where tradition and modernity often intersect.
Revai, determined to overcome her challenges, decides to till the land despite her limitations. Her hard work pays off, and her crops thrive, becoming a source of pride and community’s envy, particularly for Tongai, who suspects witchcraft at play. In an attempt to thwart Revai’s progress, he consults Kwedebu, a charlatan, further exacerbating the protagonist’s struggles.
In a dramatic turn of events, a lightning bolt meant to kill Revai misses and destroys her fields, instead. Her remarkable harvest, which has sparked awe in the community, is now seen as evidence of the paranormal. Also, her misfortunes are blamed on displeased spirits. Despite her devotion to Christianity, Revai faces increased problems as the community is divided between loyalty and belief.
When her son, Tawanda, vanishes while herding cattle, suspicions against Revai intensify, as she is accused of witchcraft once again. After buying three beasts at Chiadzwa following her dance with destiny, she’s accused of dabbling in necromancy. Consequently, bogus witch-hunters confiscate her cattle as “compensation” for cleansing her.
However, Mupunga suggests that a supernatural force ultimately comes to Revai’s aid, underscoring the complex interplay between Christianity and African religion. Revai finds solace in prayer, while Tongai’s reliance on charlatans leads to his downfall.
Ultimately, poetic justice prevails through Vengai’s spirit—restoring his family’s inheritance and punishing those responsible. Tawanda regains his voice, and the family finds redemption, with Yeukai becoming a successful medical doctor, and buying her mother a house in the affluent suburb of Borrowdale in Harare.
Mupunga’s adept portrayal of the coexistence of Christianity and African religion adds depth to the narrative, purveying their capacity for both good and harm. The novel’s exploration of themes such as witchcraft, religion and redemption, creates a rich and immersive reading experience.
While the novel excels in its insightful probing of social issues, there are moments where the plot twists feel overly predictable, compromising suspense and artistic tension. At times, the narrative feels simplistic, detracting from the overall impact of the story.
Nevertheless, “Revai” remains a powerful voice in the fight for women’s emancipation.
Mupunga’s careful handling of the clash between individual striving and societal expectation proves women’s enduring strength, even in the face of misfortune’s relentless wheel. She insists that Mother Fortune smiles at those who persevere.
Through Revai, the author inspires readers to challenge detrimental societal customs and advocate for gender equality.
Overall, “Revai”, published in Shona, is a stimulating novel that offers a nuanced exploration of social issues afflicting African societies. Mupunga’s masterful storytelling and thoughtful character development make for a compelling read, prompting the reader to be mindful of the power of determination.
Online Reporter