LitCharts assigns a color and icon to each theme in Mother to Mother, which you can use to track the themes throughout the work.
The Legacy of Colonialism and Apartheid
Family, Tradition, and Obligation
Language, Storytelling, and History
Summary
Analysis
Skonana can see that Mandisa is distressed, and offers her some tea. Mandisa appreciates the offer but, feeling “weepy,” declines and returns inside. Mandisa begins to address the Mother again, wondering why the Girl was in Guguletu at all, why anyone would come there. Mandisa begins to tell the story of how she ended up in the township, as if “borne by a whirlwind […] of the government’s making,” an “upheaval” so intense that “three decades later, my people are still reeling from it.”
Mandisa now begins to tell the story of how the nation’s racist apartheid regime relocated her family to the township of Guguletu. Because apartheid has been in effect since 1948, Mandisa explains that “three decades later, my people are still reeling from it.” Although Mandisa is referring to apartheid, this passage also points to colonialism’s legacy in South Africa, as its trappings (like race inequality) are still present three centuries later.
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Mandisa began her life in Blouvlei. She recounts her memories the Friday she first heard rumors of relocation: young Mandisa comes home from school, and her mother, Mama, sends her on errands, as she does most afternoons. Mama sends Mandisa across the street to buy vetkoek from a nearby vendor. Mandisa is supposed to come back before Mama’s kettle boils, but dawdles in the shop eating a vetkoek, and is late. Mama comments but doesn’t punish her.
Just as Mrs. Nelson acted with uncharacteristic compassion by driving Mandisa halfway home on the day the Girl was murdered, Mama is also moved to compassion (or at least deterred from punishment) in a time when bigger, more serious issues are swirling about.
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Mandisa completes the rest of her Friday chores. Mama bottles and sells ginger beer—the family business—and Mandisa helps collect the empty bottles when men come by to drink and talk after work. Mandisa overhears one man, Tat’uSikhwebu, say he’s heard the government is planning on relocating all black South Africans in Cape Town. Mandisa dismisses this as a rumor, as Tat’uSikhwebu is known to be unreliable, but later hears Tata talk to Mama about it, and sees the rumor circulate around the neighborhood.
Like the murder of the Girl, the relocation starts out as rumor. However, young Mandisa knows things must truly be amiss when even her mother and father are worried enough to discuss it. This suggests that Mandisa looks to her parents for stability and guidance, and that, more broadly, her family is a positive force in her life at this time.
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Mandisa wonders how the government could even move the residents of Blouvlei. There are millions of people in the township, which has served as a home to its inhabitants for generations. An elder comments, “The afterbirths of our children are deep in this ground,” as are “the bleached bones of our long dead.” Mandisa is reassured by this assertion that Blouvlei will remain her home.
The idea that the government could relocate such a huge group of people suggests that, under the apartheid regime, the government sees black South Africans as pawns that can be picked up and moved out of sight. In other words, the government doesn’t consider black South Africans to be real people who are rooted to their community and land.
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On a Sunday, months later, Mandisa and Khaya are playing on a hill nearby her home with their friends, when an airplane appears overhead. It spews pieces of paper, which the children and their parents first mistake for some kind of weapon. Instead, they are flyers full of typos, which translated announce, “ALL BLOUVLEI WILL BE RELOCATED […] NEXT MONTH.”
The residents of Blouvlei are informed of their relocation in the most unemotional, detached way possible. Not wanting to go among black South Africans, it seems, the white government instead uses an airplane to merely pass over the township and deliver the news through impersonal pieces of paper.
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Mandisa is suddenly hit with a “bleak sadness,” realizing she’ll soon lose the only home she’s ever known. She returns home with papers and shares them with Mama and Tata. Mandisa’s parents, who have always praised her and Khaya, are too preoccupied to praise her this day, a sign of the seriousness of the situation.
Mandisa’s mother is both strict and supportive, which the novel suggests is characteristic of families when they are at their best. It is through the people around her that Mandisa gauges how she should react to the situation.
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A bell sounds, announcing a town meeting, and the adults leave their homes to gather and (presumably) discuss the flyers. Mandisa is happy to get extra time to play, as her parents stay at the meeting past sunset. When they eventually return, they are frustrated. The meeting was full of endless questions, and very few answers. The meetings continue for days and weeks. Representatives are sent to the government, but are rejected. Even white employers are asked to help, but nothing will change the mind of the government and its officials. The only setback is that the relocation occurs in September, instead of the promised July.
The white government cares so little for its black citizens that it doesn’t even bother to answer their questions or provide them with adequate information. The people in Mandisa’s community try to appeal to their white employers for help, hoping that they can serve as a go-between, but the government is both unflinching and unfeeling.
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Early in the morning on September 1st, Mandisa and her family wake up to their house burning down. Police cars, bulldozers, and military vehicles surround the township, and white men are destroying homes, forcing the residents to relocate. Families try to salvage what they can from their homes, pulling the structures down themselves to save building materials.
The government and law enforcement don’t just forcibly pluck Mandisa and her neighbors from their homes—they also cruelly destroy those homes. This scene reads like the frontlines of a battle, a violent riot, or an instance of cold-blooded terrorism, but it’s actually how the government deals with a large, disenfranchised segment of its population.
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Mama and Tata begin the march to their new home, with the materials they’ve salvaged from their old home on their backs. Arriving in Guguletu, Mandisa observes, “everybody changed.” The new houses of the settlement, “brand-new brick […] with their glass windows, concrete floors, bare walls and hungry rooms” created new material needs. Some [p]eople believed they’d been bettered, and strove hard to live up to that perception.” As the men, who typically worked, had the same wages as before, women started going to work to augment the family’s income, leaving children home alone to fend for themselves.
In forcing people to abandon their homes and communities, the government creates additional strain by constructing housing developments that are far different than what the people of Blouvlei (and beyond) are accustomed to, which essentially forces families to buy new home goods like curtains for the glass windows and rugs for the concrete floors. This has an ambiguous psychological effect on the community, as some people feel that this change “better[s]” them, while others, like Mandisa, feel dehumanized.
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Back in the present, in 1993, neither Mxolisi, nor Mandisa’s husband, Dwadwa, have returned home. Once again, Mandisa wonders what is wrong with Mxolisi, and why he refuses to listen to her. Mandisa remembers how Mxolisi used to be open with her, and would share his secrets. She wonders why he stopped. Mandisa does laundry to distract herself.
Mandisa continues to view Mxolisi as unique from her other children. She’s even more worried about Mxolisi than she is about her husband, cementing Mxolisi as the most important person in her life. Even though they aren’t as close anymore—something that weighs on Mandisa heavily—she seems to see her son as an extension of herself.
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Eventually Dwadwa returns with spleen for dinner. He reports that there are police vans around the train station and also along their street, although luckily the police have stayed inside their cars. Mandisa cooks up the meat Dwadwa brought home. She continues to worry about Mxolisi, who, although he loves meat, fails to appear even when she serves dinner. She feels “unsettled,” and can barely eat.
While in theory police are supposed to be public servants who help and protect citizens, the residents of Guguletu fear and resent them, seeing the law enforcement as an extension of the racist government under apartheid. Thus, it’s a relief to Mandisa that the police are at least staying inside their cars, even though they’re on high alert. Mandisa’s worry about Mxolisi’s safety and possible involvement in the crime intensifies now that her other family members are all accounted for.
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Mandisa gets ready for bed. She reflects on the violence that has been occurring in her neighborhood for years. Still, this past violence was different than today’s murder of a white woman, which was committed “for no reason at all. Killed, in fact, while doing good…”
Mandisa isolates two reasons why today’s violence is different. First, the Girl was white; as white people rarely venture into Guguletu, much of the violence in the township happens among black residents. Violence against a white person is bound to attract the government and law enforcement’s wrath, thus endangering black South Africans even more under the racist apartheid regime. Secondly, based on the story Mandisa has begun constructing about the Girl, Mandisa suspects that the Girl was killed “for no reason” and that she was murdered “while doing good.” In other words, the violence was senseless and the victim was not only innocent but an ally.
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That night, in bed, Dwadwa asks Mandisa where Mxolisi is. When she says she doesn’t know, he warns her that he will “bring you big trouble one day.” Mandisa doesn’t like that Mxolisi is always out either, but defends him to her husband, arguing, “all children are like that, these days.” Dwadwa responds that her answer is not one of “a wise mother,” and that even if Mxolisi is no longer a young boy, it is still Mandisa’s responsibility to mother him.
Even Dwadwa espouses the idea that parents are responsible for their children. Interestingly, he seems to take little to no responsibility himself for Mxolisi’s actions; as the story is about to reveal, Dwadwa is Mxolisi’s stepfather, so it’s possible he feels that it’s not his right to try to control Mxolisi.
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Mandisa reflects on how Dwadwa, although only Siziwe’s biological father, is kind to all of her children. Still, she is unable to apologize to him for lashing out. Instead, she lays awake worrying about Mxolisi.
Even in the midst of a fight with her husband—whom the novel firmly positions as a good man and a positive force in Mandisa’s life—Mandisa is still hung up on her son. Her unshakable worry, coupled with Dwadwa’s moralizing, suggests that Mandisa does see Mxolisi as her responsibility at this point.
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Mandisa remembers being in school after she was relocated to Guguletu. The classes were so big, she didn’t learn the names of the other students in it. When inspectors came to check on the children’s learning, the teacher used her hands to indicate the right answer to the questions so the children would seem well learned.
The corruption in South Africa under the apartheid regime also seeps into the schools. Mandisa has already pointed out that the schools of her youth (and the ones her children attend—or are supposed to attend) lack adequate resources. This passage shows the impact of that, as there are too few teachers and too many students for any real learning to take place.
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Mandisa explains that schools have gotten worse since her own childhood. Mxolisi is twenty but still in the classes he should’ve completed at age eleven or twelve. With “boycotts, strikes, and indifference” Mandisa knows her “children have paid the price.”
This moment points back to Mandisa’s earlier lament that no matter what she does or says, she simply can’t get her children to go to school. Mxolisi being so far behind seems to be a testament to this, though it also shows that schools for black South Africans aren’t equipped to help students succeed.
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Mandisa briefly addresses the Mother, wondering if the Girl went to school. If she did, did she not understand that Guguletu “was not safe for the likes of her”?
Here, Mandisa draws clear boundaries between white spaces and black spaces in apartheid-era South Africa; the divide is so strict that trying to cross into the other territory can prove fatal. Mandisa is certainly not arguing that this is the way things should be, but simply that this is the way things are. As in many parts of the novel, Mandisa seems passively resigned to the corruption that surrounds her, making her a foil for the altruistic Girl and the politically charged Mxolisi.
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In bed, Mandisa reflects upon the “havoc our children” are creating in society. To her, it seems children have decided that their parents are stupid, and that it is now the children’s job to lead the revolution. They reported to adult leaders who told the children to “make the country ungovernable.” At first, Mandisa admits, parents cheered on their children as they stoned white people’s cars.
Even though she seems to go back and forth on whether or not parents should be responsible for their children’s actions, Mandisa examines in this passage the way that parents have a hand in the way their children turn out. In this case, parents were initially excited to see their children engaging in acts of political dissent but didn’t yet realize that such violent behavior would spiral out of control.
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Mandisa remembers singing a song about black South Africans murdering a nun in school, but the song took pity on the nun. Now, she explains, children sing “AmaBhulu, azizinja,” or “whites are dogs,” an idiom learned from their parents who would say it as they returned from work, where they had served white people.
“AmaBhulu, azizinja” is one of the many songs and chants peppered throughout the novel. Translated to “whites are dogs,” the chant was passed down from generation to generation. Thus, in using the phrase, the younger generation draws on their parents’ experiences and connects to a shared history of frustration and oppression.
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Mandisa’s children’s generation got increasingly out of hand. After stoning white people’s cars, they burned down their own schools, an action the adults disliked but understood. However, then children began burning unoccupied buildings, black people’s cars, and black people’s houses. At first, adults justified that perhaps the children recognized some secret guilt in their neighbors, or saw that they were collaborating with the apartheid government, calling these potential traitors “Iimpimpi.” Parents continued to praise their children, and increasingly feared them and their power. However, Mandisa recognizes the children “descended into barbarism,” losing their humanity.
In charting how Mxolisi’s generation got so out of hand, Mandisa reveals how difficult it can be to control or subdue children once they begin slipping away. This ties into Mandisa’s earlier thoughts about how Mxolisi used to share everything with her, and then one day she suddenly realized that she no longer knew her son. The younger generation’s violence quickly snowballs, and the parents are left helpless.
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For Mandisa, the final straw was when children murdered a black man from Guguletu by draping an old tire around his neck and setting it on fire, an action that came to be known as necklacing. Few leaders condemned the murder, even though, to Mandisa’s knowledge, the man was innocent. More people were publicly executed, and when questioned, the children said they were “fighting the apartheid government,” and explained, “a war was going on.”
The children are clearly frustrated and fired up, which Mandisa implies is understandable, but their explanations of their crime betray their naivety. They make vague statements—that they are “fighting the apartheid government” because “a war [is] going on”—and try to justify all the violence they commit, even against innocent black South Africans, through those catchall explanations.