Maina Wahome reviews “Money-Changer-In-Law” a short story

Maina Wahome reviews “Money-Changer-In-Law” a short story

Compiled and edited by Ndaba Sibanda, this rich and screamingly spellbinding text's contributors burst into their literary spaces and pages with dazzling, delightful, and different magic that keeps the reader banqueting, drooling, and awe-struck.

Characters

Melody-Dumo’s wife

Dumo -Melody’s husband

Mrs Hadebe-Dumo’s mother

• Do not go to work full of it!

Mr Big

Mr Bigger

Jayden-Dumo’s kid/son

Igwe Victor-Witchdoctor

Musasa-Former teacher

Mr Biggest-Mr. Bigger’s greatest rival and his cartel

Mbusi-An agent of Motor Solutions

Cecilia: A woman from Fries, For You

Contributors and their story titles

Compiled and edited by Ndaba Sibanda, this rich and screamingly spellbinding text's contributors burst into their literary spaces and pages with dazzling, delightful, and different magic that keeps the reader banqueting, drooling, and awe-struck. Sifanele Sibanda sets the tone high with her moving movie-like story, The Deadly Big Bully. Then Khumbulani Malinga marks his royal and entrancing entrance with his Love Letter. Ntombizenhla Nxumalo poses the critical question Is This the Way It Should Be? On the other hand, Pentecost Mate’s proficient brush intensely paints The Rural Bathtub. Robert Mugore smartly discusses and dissects The Devil I Know. Banqobile Virginia Dakamela rightly reads Money Changer-in Law the riot act. Norah Sibotshwa has no kind words for Betrayal, and Ndaba Sibanda is transfixed and staggered after spotting The Immigrant with A Difference.

Introduction

This is an anthology of eight hypnotising short stories whose language, themes, styles, depth, diversity, and handling make it extraordinarily fresh, imperative, and haunting. The collection The Smell of Betrayal: You Sting My Heart presents a profound exploration into the pervasive and malignant nature of betrayal, portraying it as a malicious force that infiltrates and corrodes interpersonal relationships, societal structures, and individual psyches. The evocative language underscores the chaotic and negative impact of betrayal, depicting it as a metaphorical carcinoma that demands vigilant resistance and collective condemnation. Through vivid imagery and poignant observations, the compilation elucidates how betrayal manifests as a catalyst for upheaval and emotional turmoil, leaving a trail of devastation and despair.

This narrative evokes many emotions, including surprise, doubt, and enthusiasm. It revolves around a rivalry within the money laundering business that has thrived among the inhabitants of a particular town. At the center of this tale is Mrs Hadebe, a prominent figure who virtually owns the entirety of Herbert Chitepo Street. She is described as radiant, seemingly impervious to the passage of time.

Mrs Hadebe is engaged in dubious business dealings and aspires to gain complete control over Bulawayo Street, to eventually pass the reins to her son, Dumo. Failure is not an option for her, and she despises her competitors, fearing that they would monopolise the business if given the chance.

The operations of this money laundering enterprise are depicted as both tactical and practical. Dumo, initially hesitant, is eventually enticed by the allure of substantial profits. Once he tastes success, he becomes unstoppable, displaying boldness and an enigmatic demeanor. Mrs. Hadebe's influence over the area is attributed to Mr Big, a prominent figure in Bulawayo, having an infatuation with her. Dumo is introduced to the managerial aspects of the trade, and the mantra of the business shifts from “lisiphatheleni makhiwa” to “asitshintshe” - an exhortation to change money.

Mrs. Hadebe hatches a plan to eliminate Mr. Big to replace him with Mr. Bigger, whom she deems more favorable. However, Dumo warns his mother about the dangers of double-crossing such individuals. Despite her son’s caution, Mrs Hadebe decides to visit Igwe Victor for the protection of her business. Dumo strongly opposes this decision. Mrs. Hadebe blames Dumo for resembling his father, whom she characterises as a coward, content with mediocrity. Nonetheless, she proceeds with her visit to Igwe Victor, who provides her with a “medicine.” She prepares a dish called “Umxhanxa,” which her son loves. Unbeknownst to Dumo, she has concealed the yellow concoction given to her by Igwe Victor within the food she serves him, instructing him to eat while invoking his totems.

 Upon returning home, Dumo undergoes a startling transformation into a snake. Mrs Hadebe witnesses this chilling event, and panic surges through her, bringing a sense of impending doom. Frantically, she dashes for the door, while the snake hisses, “Melo help me”.

 Terrified, Melody, another character in the story, encounters a fearsome, black and yellow giant reptile with red, frightened eyes in her bedroom. Overwhelmed by fear, she flees onto the road, screaming. Melody's mother confesses that she has never approved of her daughter's relationship with Dumo, the money changer.

She laments the fact that Melody declined her brother's offer to secure her a job in the United Kingdom, reiterating her belief that nothing good would come from Dumo's family.    

Stylistic devices

Vivid description

 The story emphasises the importance of vivid descriptions in isiNdebele, a language that values clarity and elaborate naming. One interesting aspect highlighted is the use of a woman's maiden surname in conversations, even after marriage. This cultural practice is exemplified through the character of Mrs Moyo, whose father’s surname was Mhlanga. In isiNdebele, referring to her as “MaMhlanga” signifies that she belongs to the Mhlanga family, despite being married.

 The narrative further provides a detailed portrayal of Mrs Hadebe, painting a vivid picture of her appearance and personality. She is described as the mother of the protagonist, a well-known money changer who dominates Herbert Chitepo Street. Despite the passage of time, Mrs Hadebe’s beauty has endured, and her looks have been slow to succumb to the ravages of time. The author notes that she always adorns herself with fancy, bright-colored hairpieces.

Mrs Hadebe’s face is described as a perfect exhibition of art, with painted eyelids, rouge cheeks, darkened eyebrows, bright red lips, and glistening earrings. Her fingers are adorned with numerous rings, further accentuating her regal presence. The narrative also mentions that before 2016, she used to cover her head with a white doek, but she has since renounced that faith, implying a shift in her beliefs or personal style.

  The author portrays Mrs Hadebe as the undisputed queen of her territory, with every illegal money changer reporting to her at the end of the business day. The inclusion of the word "illegal" acknowledges a debatable aspect of her activities, leaving room for further exploration and discussion. However, the narrative suggests that delving into this topic is beyond the scope of the current story, indicating the potential for future exploration.

Local dialect

The story incorporates the use of local words and phrases to enhance its flavor and add embellishments. One such phrase is lisiphatheleni makhiwa, which translates to "What have you brought us white people?" This expression is used figuratively to refer to individuals who possess wealth or abundance. It reflects the cultural context where people of European descent are associated with affluence.

Another local phrase mentioned is asitshintshe, which means “let us change.” In this context, it refers to the act of exchanging or converting currency, highlighting the character's involvement in the money-changing business.

The term umxhanxa describes a sweet soup made from a mixture of melon and maize kernels. This local delicacy adds a touch of cultural richness to the narrative, showcasing the culinary traditions of the community.

Ijodo is the term used for melon, another local word that further immerses the reader in the cultural nuances of the story.

The word mkhwenyana is introduced to refer to a son-in-law. This term carries familial connotations and emphasises the importance of kinship ties within the community.

Umthunywa is mentioned as a Ndebele news publication, highlighting the existence of a local media outlet that caters specifically to the Ndebele community. This inclusion suggests a sense of community pride and the presence of a platform for sharing news and information within the cultural context.

Lastly, the phrase Umongikazi ugijinyiswa yizituhwane describes a situation where a nurse is chased by subhuman creatures. This vivid description adds an element of suspense or intrigue to the narrative, potentially introducing supernatural or mythical elements to the story.

The incorporation of local dialect, words, and phrases enriches the narrative by giving it a distinct regional flavor and immersing the reader in the cultural context of the story.

Metaphor

“Fishing in my pond”

The metaphor “Fishing in my pond” can be expounded in the context of fishing from one’s daily bread source, as it represents the act of seeking sustenance or profit from a familiar and accessible place or situation.

In the narrative, Mrs. Hadebe’s money laundering enterprise serves as her metaphorical pond, from which she fishes for wealth and power. The pond symbolizes the familiar and controlled environment in which she operates, where she has established her dominance over Herbert Chitepo Street. Just as a pond is a contained body of water, her business operations are depicted as tactical and practical, suggesting a level of control and expertise in her illicit activities.

About reviewer

Maina Wahome, a polymath from Kenya, is a linguist, educator, author, playwright, and poet. He holds a Bachelor of Education (B.Ed. Arts) specialising in English and Literature from Laikipia University in Kenya and a Master’s degree in Linguistics from Universitas Diponegoro in Indonesia.

Wahome’s expertise spans phonology, morpho-syntax, cognitive linguistics, semantics, and natural semantic metalanguage (NSM). His academic and creative endeavors reflect a deep commitment to linguistic exploration and literary innovation.

About author

Bulawayo-based author Banqobile Virginia Dakamela writes captivating and relatable stories focusing on the struggles of ordinary men and women. When she takes a break from the world of fiction, Bee Vee, writes detailed reviews. She is an editor and teaches English. Bee Vee is best known for her short story, 'Lolungileyo Liyamtshonela Ilanga' which was published in the collection Vala singafohleli lesisilo edited by Barbara Makhalisa (2006) and 'The Robbery at 00249 Gwabalanda' which was published in the collection Intwasa short stories(2021).

The act of fishing in this metaphor reflects Mrs. Hadebe’s relentless pursuit of financial gain and her desire to expand her influence. She aspires to gain complete control over Bulawayo Street, symbolised by her ambition to fish from a larger pond. Her fear of her competitors monopolising the business indicates her determination to maintain her dominant position, likening them to other fishermen who may deplete the resources of the pond if given the opportunity.

Additionally, the metaphor can evoke a range of emotions in the narrative. The surprise element is present when Dumo, initially hesitant, becomes enticed by the allure of profits and displays boldness and enigmatic demeanor, indicating unexpected success in his fishing endeavors. Doubt is introduced as Dumo warns his mother about the dangers of double-crossing individuals like Mr. Big, highlighting the risks involved in their chosen fishing grounds. Enthusiasm is evident in Mrs. Hadebe's unwavering pursuit of her goals, as failure is not an option for her in her fishing expeditions.

However, the metaphor takes a dark turn when Mrs. Hadebe’s plan to eliminate Mr. Big goes awry and results in Dumo’s transformation into a snake. This unexpected event represents the consequences of fishing in murky waters or engaging in dubious activities. The panic and impending doom felt by Mrs. Hadebe mirror the consequences of her greed and desire for control, as she witnesses the terrifying outcome of her fishing endeavors.

In summary, the metaphor "Fishing in my pond" in the context of fishing from one’s daily bread source represents the act of seeking sustenance or profit from a familiar and accessible place. The narrative, symbolizes Mrs. Hadebe’s relentless pursuit of wealth and power in her money laundering enterprise, her desire to maintain dominance over her business territory, and the unexpected consequences that can arise from engaging in such activities.

Similes

This simile below compares the similarities between the person being addressed and their father. It implies that the person's behaviour, traits, or qualities closely resemble those of their father. The speaker expresses a sense of disappointment or dissatisfaction, suggesting that they question the decision to stay in the marriage.

Sometimes I wonder why you are so much like your father. He was the best I could find in Nkayi but over the years I wonder what has kept me in this marriage this long.

Consequently, Mr Biggest, Mr Bigger's greatest rival, and his cartel want to collect as much foreign currency as they can.

 compares Mr. Biggest to Mr. Bigger’s greatest rival, highlighting the intensity and magnitude of their competition. It suggests that Mr. Biggest is a formidable adversary who poses a significant threat to Mr. Bigger and his cartel. The simile emphasizes the competitiveness and the shared objective of both parties, which is to accumulate as much foreign currency as possible.

 As far as the bedroom closet... The simile serves as a way to introduce or emphasize the significance of the subject at hand.

Rhetorical questions

Rhetorical questions are figures of speech that are posed as questions not meant to be answered literally. They are often used for emphasis or to make a point. Let's rephrase the statements accordingly:

Mrs. Hadebe tried her son's phone, but it rang nonstop. She exclaimed, "Will he ever stop taking these cheap girls to these cheap lodges?" This rhetorical question expresses Mrs. Hadebe's exasperation and serves to emphasise her frustration with her son's behavior.

“What is there to lean on? So, you want to engineer a plastic collection company or a freezit-making business. Seriously, what else pays in this city except exchanging money?” This rhetorical question highlights the limited options or opportunities available. It implies that the speaker is questioning the viability of starting a plastic collection company or a freezit-making business as alternative ventures in the city, and emphasizes the dominance of the money exchange business as the primary source of income.

Themes

Witchcraft

 Witchcraft as a theme explores the manifestation of supernatural or mystical powers within the narrative. In the context of the story provided, witchcraft is depicted through the character of Mrs. Hadebe seeking protection and advantage through the use of magical means. This theme delves into the cultural beliefs and practices surrounding witchcraft, as well as its impact on individuals and communities. Mrs. Hadebe’s consultation with Igwe Victor for "medicine" and her invocation of totems reflect her reliance on mystical forces to safeguard her business interests. Through this theme, the narrative explores the complexities of belief systems, power dynamics, and ethical considerations associated with witchcraft.

“Dumo on a serious note, I’m considering visiting Igwe Victor for protection.  Musasa has already pinched three of our trusted money changers. That former teacher had a good way with clients. He had a wide client base because most of his former colleagues and students he had taught in his fourteen years of service were keen to be served by him. Now he operates from Fort Street and that good for nothing is benefiting.”

“She then invited Dumo to her car. She had cooked umxhanxa which her son loved with a passion. He eagerly ate the delicacy and passed a comment that the maize grains were rather undercooked and would break his teeth.  His mother urged him to eat while calling out his totems.”

Jealousy

Jealousy emerges as a theme that explores the destructive nature of envy and rivalry within interpersonal relationships. Mrs. Hadebe’s jealousy towards her business rivals and her manipulative actions underscore the corrosive effects of jealousy on individuals and their interactions. This theme delves into the psychological motivations behind jealousy, such as insecurity, competitiveness, and desire for dominance. Mrs. Hadebe’s scheme to eliminate Mr. Big and align herself with a more powerful figure, Mr. Bigger, exemplifies the lengths to which jealousy can drive individuals in their pursuit of success and validation. Through this theme, the narrative raises questions about morality, betrayal, and the consequences of unchecked envy.

“Dumo, Mr Big is right where I want him to be. I got him here.” She said cupping her hand as if Mr Big could be seen in the hollow of her palm. “I want you to get close to him. He has to tell you who Mr Bigger is. I want to eliminate Big and work directly with Bigger.”

Social stratification

Social stratification emerges as a theme that explores the hierarchical structure of society and its implications for individuals' opportunities and experiences. The story delineates disparities in wealth, education, and social status among its characters, particularly exemplified by the contrasting circumstances of Dumo and Mrs. Hadebe. Dumo's struggle to afford his education due to his father's limited financial means highlights the challenges faced by individuals from lower socioeconomic backgrounds. In contrast, Mrs. Hadebe's affluent lifestyle and ability to provide for her son underscore the privileges afforded to the wealthy elite. This theme prompts reflection on issues of inequality, access to resources, and social mobility within society. By portraying the consequences of social stratification on characters' lives, the narrative invites readers to consider broader systemic issues of injustice and opportunity.

 “Dumo was in his last year at university and his father's salary was too meagre to meet all his financial needs. His mother persuaded him to find a spot on the corner of Herbert Chitepo and Leopold Takawira in front of a large retail store. He was fearful at first but once he ‘tasted’ the profits, he grew bold and enigmatic.”