The Train from Rhodesia | yogaua.info
This story is set at a time when South Africa and Rhodesia (now Zimbabwe) enforced I'm coming. . (a) Recall: Who comes to meet the train from Rhodesia?. In the story The Train from Rhodesia who comes to meet the train from Rhodesia and what does the interaction between these people and the passengers. “The Train from Rhodesia” () is one of Nobel Prize winning author Nadine The narrator says the train had come into the station, taken what it wanted, then.
The engine flared out now, big, whisking a dwindling body behind it; the track flared out to let it in. Creaking, jerking, jostling, gasping, the train filled the station. Here, let me see that one—the young woman curved her body further out of the corridor window. From a piece of string on his gray finger hung a tiny woven basket; he lifted it, questioning. No, no, she urged, leaning down toward him, across the height of the train, toward the man in the piece of old rug; that one, that one, her hand commanded.
It was a lion, carved out of soft dry wood that looked like spongecake; heraldic, black and, white, with impressionistic detail burnt in. The old man held it up to her still smiling, not from the heart, but at the customer. Between its Vandyke 3 teeth, in the mouth opened in an endless roar too terrible to be heard, it had a black tongue. And round the neck of the thing, a piece of fur rat? All up and down the length of the train in the dust the artists sprang, walking bent, like performing animals, the better to exhibit the fantasy held toward the faces on the train.
Buck, startled and stiff, staring with round black and white eyes. More lions, standing erect, grappling with strange, thin, elongated warriors who clutched spears and showed no fear in their slits of eyes. How much, they asked from the train, how much? Give me penny, said the little ones with nothing to sell. The dogs went and sat, quite still, under the dining car, where the train breathed out the smell of meat cooking with onion.
A man passed beneath the arch of reaching arms meeting gray-black and white in the exchange of money for the staring wooden eyes, the stiff wooden legs sticking up in the air; went along under the voices and the bargaining, interrogating the wheels. Past the dogs; glancing up at the dining car where he could stare at the faces, behind glass, drinking beer, two by two, on either side of a uniform railway vase with its pale dead flower.
The man called out to them, something loud and joking. They turned to laugh, in a twirl of steam.
The two children careered over the sand, clutching the bread, and burst through the iron gate and up the path through the garden in which nothing grew. Passengers drew themselves in at the corridor windows and turned into compartments to fetch money, to call someone to look. Those sitting inside looked up: There was an orange a piccanin would like. What about that chocolate? A young girl had collected a handful of the hard kind, that no one liked, out of the chocolate box, and was throwing them to the dogs, over at the dining car.
But the hens darted in, and swallowed the chocolates, incredibly quick and accurate, before they had even dropped in the dust, and the dogs, a little bewildered, looked up with their brown eyes, not expecting anything.
Too expensive, too much, she shook her head and raised her voice to the old boy, giving up the lion. He held it up where she had handed it to him. No, she said, shaking her head. Oh leave it—she said. The young man stopped.
Analysis of The Train from Rhodesia by Nadine Gordimer
No, never mind, she said, leave it. The old native kept his head on one side, looking at them sideways, holding the lion. Three-and-six, he murmured, as old people repeat things to themselves.
The young woman drew her head in. Out of the window, on the other side, there was nothing; sand and bush; a thorn tree. There are two distinct compartmentalization of humans pictured in a realistic approach. There are poor village vendors waiting desperately for the arrival of the train on one side; on the other, there are passengers who are passively involved in the act of being the only source perhaps of the vendors survival. The train, therefore is a metaphor for a divide between the rich and the poor, the aristocratic and the laymen, the happy and the sad, the frivolous and the desperate and many more.
A particular women gets interested in a piece of art, a wooden lion kept for sell but refrains herself from buying it for its price. Her husband bargains "for fun" and in the brink of the train's departure and in fact, when the train has started moving, the poor vendor runs after the man and sells the piece of art in a price as low as one shelling and six pence, the lion, which in reality is worth three and six.
Guilt engulfs the wife who realizes the fact that her husband had not bargained for the lion, but for his poverty, his under-privileged state. How much poorer could a poor be bargained to be? Perplexed by the 'realism' of the terribly beautiful lion, its tail, sinews, mare and so forth, she realizes that the poor was deprived of his rightful dignity and the lion of its rightly price.
Indeed, 'The Train from Rhodesia' elicits the lack of concern for the poor. Summary of The train from rhodesia? A train is heading toward a small, rural station in Southern Africa.
The area around the station is impoverished, as are the people who live there. In the station, the stati…onmaster, the venders, and the children prepare for the train's arrival. The train, from the white, considerably more wealthy area of Rhodesia, approaches the station. A young white woman stretches out of the train's window to look at a carved lion that an old African man has to sell. The poor villagers flock to the windows of the train, selling items or begging for handouts from the other passengers.
She feels shameful and sick for exploiting the native Africans, but refuses to explain these feelings to her husband. Previously, she had attributed such feelings to being single and alone.
She argues with her husband and they both end up feeling hurt and disconnected from one another. Thus, her conscience has divided them; this event illustrates how apartheid can drive a wedge between all people and even divide families. Gordimer structures her story around this metaphor and uses limited third-person narration to tell it. The narrator reveals only the thoughts of the young woman, thus focusing the story around her perspective, even though the stationmaster and his family are introduced to the reader before the train arrives.
Investigate how contemporary South Africa differs from the apartheid South Africa of Research the art of the indigenous Africans. What were the carved figures like those in the story used for? What were some features common to them and what did they symbolize? The train comes from Rhodesia, a privileged British colony in South Africa, and thus symbolizes British colonialism.
The train only stops briefly and few people get on or off, further symbolizing the indifference and lack of understanding inherent in British imperialism. The old man and his impoverished neighbors are incidental; the train is merely passing through on its way to another British outpost.
In contrast to the mechanical, manufactured symbol of the train to represent the whites, the Africans of the small village are identified with images of nature.
"The Train from Rhodesia" by Joe Lemelle on Prezi
This, also, is a symbol of nature, even though it negatively connotes their position in society as nothing more than pieces of meat. Nevertheless, these images reveal that the villagers are an organic part of the environment.
The all-white National Party won control of the government in and dominated South African politics for much of the next two decades. Black Africans and other non-whites, including those of mixed-race heritage, were denied the most basic human rights and forced to live apart from whites in substandard living conditions. They were allowed only disproportionately small representation in government, and by they were denied all representation.
This political exclusion insured a monumental divide in the respective standards of living between-whites and non-whites. In accordance with the Population Registration Act ofall South Africans were divided by their race and treated accordingly. Members of each of the four established ethnic groups Asian, African White and Coloured, or mixed-race were strictly segregated in all aspects of their lives. Interracial sex and marriage were prohibited and the Group Areas Act of divided all cities and towns into segregated districts of both residential and business property.
In order to effect this total division, thousands of Coloureds and Indians were forced out of white areas by the government so that each district would be racially homogenous. Strict laws prohibited non-whites from sharing the same trains, buses, taxis, or even hearses as whites. For these reasons, none of the black Africans boarded the train to Rhodesia in the story.
While the white population prospered in wealthy urban areas like Rhodesia, the non-white population suffered economic and political exploitation in the rest of the country, such as the rural area Gordimer describes. Non-whites were only allowed in the all-white districts to work and were required to return directly to their districts afterwards. Black South Africans cannot vote, represent themselves in government, or live in the same areas as white South Africans.
Black South Africans participate in the South African government, vote, and maintain the same legal rights as white South Africans, though vast ghetto areas like Soweto still exist.
The Train from Rhodesia
Nelson Mandela is arrested by the South African government and imprisoned for treason after nearly two decades of work for the African National Congress. The new constitution outlaws the death penalty, grants protection to striking workers, and provides greater access to public documents.
However, byresistance to apartheid was growing. While the white-controlled government sought to crush such resistance movements through violence, surveillance, and sometimes assassination, the African National Congress continued to exist even after it was outlawed and its leaders, including Mandela, were imprisoned.
The Suppression of Communism Act of allowed the police to arrest anyone without the right to a lawyer, a trial, or an appeal. These laws were used to punish demonstrators inwhen they protested laws that even the South African Supreme Court had declared racist.
The resulting police state took the lives of many bright young political leaders and caused guerrilla warfare that characterized South African politics until the early s, when apartheid was dismantled. While she had already published many short stories in literary magazines, her readership was limited to a small audience of liberal, white South Africans.
Internationally, her condemnation of apartheid gained her respect, but her second novel, A World of Strangers, was banned by the South African government.
Yet even as her critics attacked her politics, others praised her technical mastery of language, her fluid imagery, and natural characterizations. Many critics have attempted to categorize Gordimer as a political writer, though she has resisted this label.
Intentionally writing propaganda, she says, would destroy the aesthetic merit of her work. The South African government, however, disagrees; her novel The Late Bourgeois World was banned for twelve years. In the s and s, many critics and readers preferred stories that stressed national politicians and prominent leaders over the dailiness of life.
The author of many volumes of collected short stories and novels, in addition to numerous lectures, essays, and other works of nonfiction, Gordimer was awarded the Nobel Prize for Literature in Throughout her career, Gordimer has insisted that because politics affect all aspects of life, her writing always deals either directly or indirectly with political matters.
Moreover, she believes that only the truth can help a good cause. More directly, she believes that her writing deals with the truth, thus she makes no attempt to espouse specific political views regarding South Africa. Taking this view, Gordimer often sees herself as isolated between the external world of politics and the internal world of the individual. Her work reflects this sense of detachment, and Gordimer has been admires by some and criticized by others for it.
"The Train from Rhodesia " by Laura Garber on Prezi
Likewise, some critics feel that Gordimer does not take a strong enough stand against racism, and others feel that she goes too far. The South African government, for example, has banned several of her works, and sometimes prevents others from being published in paperback, which is the only way many black South Africans could afford her novels.
A Guest of Honor by Nadine Gordimer.
A young couple are separated by a dictatorial regime in Haiti, forcing the young man to make a dangerous boat crossing to the United States. A poor, African-American family is approached by a crew of filmmakers who want to shoot footage of their modest home for their project on the government food stamp program.
A collection of stories that explores the lives of South African children growing up in the s. Cry, the Beloved Country by South African writer Alan Paton, a classic novel that follows Reverend Steven Kamalo through the black ghettos of Johannesburg on a search for his lost son. Biko by Donald Woods recounts the dynamic life of Stephen Biko, South African Black Consciousness Movement leader, who was battered to death while under police interrogation in Her talent for short fiction has been compared to that of the poet, particularly for her interweaving of event, meaning, and symbol in a short amount of space.
Martin Trump also points out that Gordimer depicts how women as well as Africans have suffered from the inequality present in South African society. Racial inequality, since it permeates all facets of life, is always present in her stories, despite the race and social class of her characters. The young woman is interested in a carved lion an old black man has to sell but claims the price is too high.
Her husband bargains with the vendor and obtains the carving for an unfairly low price, causing his wife to feel humiliated and isolated from him.
At first, this story may not seem to deal with the racial problems specific to South Africa—after all, oppressed and impoverished people are taken advantage of the world over. But the inequality that permeates South African society is depicted in the shared humiliation of the old black man and the young white woman. Gordimer explained this relationship in an interview: She suffered really from seeing herself demeaned through her lover. Gordimer achieves this emotional connection in part through symbolism.
While she draws distinctions between the white world of the train and the black world of the station, she implies that the black world is more honest. The whites live in a fragile world of their own construction symbolized by the train. The buck, hippos, and elephants and later, the lionall ferocious or frightening animals, stand in opposition to the refined world she and her husband inhabit.
But after seeing her husband act in such an insensitive, exploitative manner toward the old black man, she knows that nothing she has recently acquired is in harmony with her life and values.
Her husband, however, confronted with the dichotomy of the white and black worlds of South African has no problem accepting it. As the story begins, the train entering the station represents the potential for a healthy relationship.