Going into this I knew nothing of Mukasonga's biography or her work. I learned quite a bit about the genocide of the 1990s from a cross-cultural persuasion course I taught in 2013, but after this much time, most of the details escape me. That means I was basically a clean slate going in to it.
My overall reaction was that I feel like a better person for reading it. The average person doesn't know much about Rwanda and like me, if they do know something, it's probably something vague related to the genocide. For today's typical college students who are between 18 and 22, they may not even have that much. While my background as a francophoniste has given me a strong foundation in West African literary traditions and to some extent their cultural, political and economic contexts, I don't want to fall into the habit that so many white Westerners do of assuming Africa is some dark, exotic, monolithic place and whatever I do know about it can be applied broadly across the whole continent. Again, reading this was one small step to making sure I personally avoid that.
Below are some of the characteristics I observed about Mukasonga's writing in this collection. These examples are from "La rivière Rukarara." The examples from this one story give a good overview of her writing in general.
oral tradition
- pg 14 le soir, à la veillée, à l'heure des contes
gender roles
- pg 11 mother = nostalgia
- pg 11 mom forbids all kids, mêmes aux garçons intrépides, from playing near the steep banks of a river (there are two different sets of rules, one for boys and another for girls)
- pg 16/122 in Rwanda there is no "nom de famille." Fathers choose names for their kids at birth and pick something that relates to it. Muka is a prefix that signals it is a feminine name. It = femme de... or celle de... so it also means women gain social status through their relationship through a male family member
education and lack of literacy
- pg 13 her mother can't read her father's bible
tension between Catholicism and indigenous religions
- pg 13 le baptême le plus efficace, ce n'était pas celui que nous avions reçu des bons pères mais celui qu'elle nous avait administré...avec l'eau...de la Rukarara (river near her home)
subtle allusions to the ethnic tensions that caused the genocide
- pg 12 her famille, like many other Tutsi were deported and were internal refugees, were exiled
- pg 14 in 1963 her family members still living near the Rukarara were almost all massacred
- pg 29 inventer des êtres tout juste sortis de la Fable, une race quasi primordiale qui réenchanterait l'Afrique avilie par des activités industrielles et mercantiles. Et les Tutsi, si grands, aux traits si fins, à l'allure si imposante, étaient justement là pour tenir le rôle...Là où il n'y avait que des Rwandais, on vit des Egyptiens issue en droite ligne des pharaons... (the language choices emphasize the artifice, the construction, the idealization behind the process of the Tutsis being set apart from the Hutus)
- pg 22 the Tutsis impressed early colonizers. "Leur physique, leur attitude corroborent le portrait qu'en a dressé le premier Européen à pénétrer au Rwanda, le comte von Goetzen..."
- pg 28 colonizers carry themselves with white superiority
- pg 28 le plus grand malheur qui soit arrivé aux Rwandais, c'est d'habiter aux sources du Nil, là où depuis l'Antiquité, s'était déposé le mythe d'une contré originelle, d'un paradis perdu et inaccessible
migration
- pg 15 refugees need mysterious permis de séjour and titres de voyages that opened doors to Senegal, Côte d'Ivoire, Belgium, France, Germany, US, above all Canada
differentiation between Rwandan culture and W. African traditions
- like griots (which are so central, even sacred, to the francophone [West] African canon).
- pg 16/122 in Rwanda there is no "nom de famille." Fathers choose names for their kids at birth and pick something that relates to it. Muka is a prefix that signals it is a feminine name. It = femme de... or celle de... so it also means women gain social status through their relationship through a male family member
- pg 26 reference to un boy
Writing Style:
- I was struck by the powerful language choices like this one, pg 17 "Comment aurais-je pu oublier la Rukarara? N'était-elle pas comme inscrite dans ma chair?"
- autobiographical-her narrator is herself. Pg 19 references her novel Notre Dame du Nil
