“You come into our houses and you tell us about feminism and independence. There’s no word for ’feminism’ in any African language because those things came with white people and democracy. Look at the divorce rate, all because women want to be men.”
This is one of the many gripping quotes from Lebo Mazibuko’s debut novel, Bantu Knots - a story about the coming of age of a young black woman in South Africa, and finding her voice.
In the book, Mazibuko ushers us into the world of Naledi, Dineo and Norah (Mama). These three are tied by blood and present different personalities mirroring society, and to some extent life in the township. Naledi is the girl with the Bantu knots, a signature hairstyle which she one day abandons for something more unusual.
Naledi wants to trade her Bantu knots for Nonhle Thema’s hair on the Dark & Lovely box. She wishes she looked more like her light-skinned mother too. Ledi grows up in Pimville with her strict grandmother Mama Norah. During the day, she lives vicariously through the characters in Ndende Street and at night, she recites her bible verses with Mama. This all the while her mother, Dineo, leads a life of glamour, chasing the blesser lifestyle.
Mama and Dineo have opposing views on everything and Ledi often finds herself in the middle of their conflict. When she starts university, she has to find a way to reconcile tradition and modernity. Bantu Knots explores the complicated mother-daughter relationship and trying to come together to understand each other. We follow Ledi as she forgives a father who denies her; navigates the pressures of her circumstances, womanhood and beauty ideals - and pursues her dreams inspite of it all.
From being catcalled by the men in the streets to having her breasts being beaten by her grandmother in a bid to stop them from growing, Naledi’s image of her body is negative.
From a young age, Naledi’s body becomes something that she is unsure of, which shows the effects of body shaming on girls as they grow into young women. An important issue closely related to this is complexion, the attacks and privileges attached to it depending on who you are.
Mazibuko tackles important themes in this novel such as the family set-up, friendship, body image, relationships, gender-based violence, sexual violence, sex, religion, romance, womanhood, liberation and growth.
The book is an easy read with a flow to it. Every chapter is headlined with an African idiom which is immediately recognisable, speaking to what the chapter will unpack.
Readers will find idioms such as Lebitla la mosadi ke bogadi which simply translates to: ‘A woman’s grave is at her husband’s home’; ‘Umfazi uyabekezela’ (a wife must be steadfast).
Mazibuko has deliberately made the characters relatable and many young black girls will recognise themselves in Naledi and the complexities that make her life what it is. It is a book that deals with the many different issues that tie us together as black women.
Ethnic hair is at the core of the story and we see it in the way Naledi talks about how her Bantu knots and her friend Sindi’s afro are no match to the long straight hair that other kids have.
It’s about discovery, and a young woman finding her voice in a world where culture and religion dictate to women who and what they should be. Beauty ideals within the black community are being uncovered right through the book. With Naledi living through daddy and mommy issues, she is constantly seeking affirmation from wherever she can get it.
Bantu Knots is published by Kwela Books and is available at all major bookstores.