The Militance of a Photograph in the Passbook of a Bantu under Detention By Michael S. Harper - Giggle Poems

Original Poem：

The wrinkles on the brown face
of the carrying case
conform to the buttocks,
on which the streaks of water
from a five-gallon can
dribble on the tailfront
of the borrowed shirt
he would wear if he could
drain the pus from his swaddling
bandages, striations of skin
tunneling into the photograph.
This is no simple mug shot
of a runaway boy in a training
film, Soweto's pummeled wire,
though the turrets of light
glisten in smoke, the soft
coal hooding his platform
entrance, dull and quiet.
His father's miner's shoes
stand in puddles of polish,
the black soot baked
into images of brittle torso,
an inferno of bullets laid
out in a letter bomb,
the frontispiece of one sergeant-
major blackening his mustache.
On the drive to Evaton
a blank pass away from Sharpeville
where the freehold morgans
were bought by a black bishop
from Ontario, Canada, on a trek
northward from the Cape in 1908,
I speak to myself as the woman
riding in the backseat talks
of this day, her husband's
death, twenty-three years ago,
run over by an Afrikaner in the wrong
passing lane; the passbook on the shoulder
of the road leading to Evaton
is not the one I have in my hand,
and the photograph is not of my great-
grandfather, who set sail for Philadelphia
in the war year of 1916.
He did not want a reception, his letters
embarking on a platform at Queenstown
where his eloquence struck two Zulu warriors
pledged to die in the homelands
because they could not spin their own gold.
These threaded heads weigh down the ears
in design of the warrior, Shaka,
indifferent to the ruthless offerings
over the dead bodies of his wives,
childless in the campaigns with the British,
who sit on the ships of the Indian Ocean
each kraal shuddering near the borders;
her lips turn in profile
to the dust rising over a road
where his house once stood;
one could think of the women
carrying firewood as an etching
in remembrance to the silence,
commencing at Sharpeville,
but this is Evaton, where he would come
from across the galleyship of spears
turning in his robes to a bookmark;
it is a good book, the picture of words
in the gloss of a photograph,
the burned image of the man who wears
this image on the tongue of a child,
who might hold my hand
as we walk in late afternoon
into the predestined sun.
The press of wrinkles on the blanketed
voice of the man who took the train
from Johannesburg
is flattened in Cape Town,
and the history of this book
is on a trestle where Gandhi
worshipped in Natal,
and the Zulu lullaby
I cannot sing in Bantu
is this song in the body
of a passbook
and the book passes
into a shirt
and the back that wears it.

Analysis and Interpretation of the Poem

This poem presents a deeply evocative and layered portrait of history, identity, and memory. The imagery is rich and complex, weaving together personal and collective experiences rooted in South African history, particularly the struggles faced by black South Africans during apartheid. The poem’s central theme revolves around the physical and emotional scars carried by individuals and communities, symbolized through the "wrinkles on the brown face of the carrying case" and the "borrowed shirt" that the subject wishes to wear. These images evoke a sense of hardship, resilience, and the weight of history.

The poem references significant locations such as Soweto, Sharpeville, and Evaton, places known for their roles in South Africa’s anti-apartheid movement. The mention of a "passbook" is particularly poignant, as passbooks were instruments of control used by the apartheid regime to restrict the movement of black South Africans. This symbol extends into the metaphor of a "book" and a "photograph," linking personal identity with historical documentation and memory.

The poem also touches on themes of family legacy and displacement, with references to ancestors who migrated or fought to survive, and the speaker’s reflection on their own lineage. The allusions to historical figures like Shaka Zulu and Gandhi further ground the poem in a broader historical and cultural context, highlighting struggles for freedom and dignity.

Background and Author Introduction

This poem is likely written by a South African poet deeply engaged with the country’s history and social issues. The author uses vivid imagery and historical references to explore themes of oppression, memory, and identity. The poem reflects the legacy of apartheid and the ongoing impact of colonialism on personal and collective identities.

The poem’s historical context includes the Sharpeville Massacre (1960), a tragic event where peaceful protesters against pass laws were killed by police, marking a turning point in South Africa’s struggle for freedom. The references to passbooks, miners, and Zulu warriors evoke a broad spectrum of South African history, from indigenous resistance to colonial and apartheid-era oppression.

Reflection and Personal Response

Reading this poem invites a profound reflection on the resilience of individuals and communities in the face of systemic injustice. It reminds us that history is not just a series of events but a living experience carried in the bodies, memories, and stories of people. The poem’s layered imagery encourages empathy and a deeper understanding of the complexities of identity shaped by history.

For students and readers, this poem offers a powerful example of how poetry can serve as a vessel for history, culture, and personal narrative. It challenges us to consider how the past shapes the present and to recognize the enduring impact of social and political struggles on everyday lives.

Educational Value and Learning Points

Students can learn several key lessons from this poem:

• Historical Awareness: The poem introduces important historical events and figures from South Africa, such as apartheid pass laws, Sharpeville, Shaka Zulu, and Gandhi’s time in Natal. Understanding these references helps students connect literature to real-world history.

• Symbolism and Imagery: The poem is rich in symbolism (e.g., passbooks as control, photographs as memory). Students can analyze how imagery conveys complex themes and emotions.

• Cultural Identity: The poem explores the intersection of personal and cultural identity, encouraging students to think about how history and heritage influence who we are.

• Empathy and Social Justice: By engaging with the poem’s themes, students develop empathy for those who have suffered injustice and learn about the importance of social justice.

Practical Applications in Life and Learning

• Critical Thinking: Analyzing the poem’s complex imagery and historical references enhances critical thinking and interpretive skills.

• Creative Expression: Students can be inspired to write their own poems or stories reflecting on their family histories or social issues.

• Cultural Appreciation: Learning about South African history through poetry fosters cross-cultural understanding and respect.

• Discussion and Debate: The poem can be a starting point for classroom discussions on history, identity, and human rights.

Reading Comprehension Questions

1. What is the significance of the "passbook" mentioned in the poem?
2. How does the poem use imagery to convey the theme of memory and history?
3. Which historical events or figures are referenced in the poem, and why are they important?
4. What emotions does the poem evoke about the experiences of the people described?
5. How does the poem connect personal family history with broader social and political history?

Answers to Reading Comprehension Questions

1. The passbook symbolizes the control and restriction imposed on black South Africans during apartheid, representing loss of freedom and identity.
2. The poem uses vivid images like wrinkles, water streaks, photographs, and bandages to show how history and memory are physically and emotionally embedded in people.
3. The poem references Sharpeville (site of a massacre), Shaka Zulu (a warrior king), and Gandhi (who worshipped in Natal). These figures and events highlight resistance and struggle against oppression.
4. The poem evokes feelings of sorrow, resilience, loss, and remembrance, reflecting the pain and strength of those who endured hardship.
5. The poem links the speaker’s family history with the larger narrative of South African history, showing how personal and collective identities are intertwined.

This poem is a profound resource for understanding history through literature and offers valuable lessons in empathy, cultural awareness, and critical analysis.