344:(another gifted writer) and mere casual friends were all suspected by Marechera of being involved in his many troubles even when they acted in good faith. In the end he hung around with the down-and-outs who lived on the fringes of the literary establishment, barging into parties and generally getting into trouble and more than once, being bailed out by Currey. To complicate matters, many Africans, including fellow Zimbabwean students, did not feel Marechera was helping his cause by putting on airs, affecting an upper-class English accent and having an eccentric sense of dress. For his disruptive behaviour, he was regularly thrown out of the
401:(1984) was written the year after his return home and comprises three plays, a prose narrative, a collection of poems, and a park-bench diary. The book criticizes the materialism, intolerance, opportunism, and corruption of post-independence Zimbabwe, extending the political debate beyond the question of nationalism to embrace genuine social regeneration. The combination of intense self-scrutiny, cogent social criticism, and open, experimental form appealed to a young generation of Zimbabweans, the so-called mindblast generation, who were seeking new ways of perceiving their roles within the emergent nation.
250:, Marechera struck his professors as a very intelligent but rather anarchic student who had no particular interest in adhering to course syllabi, choosing rather to read whatever struck his fancy. He also had a reputation for being a quarrelsome young man who did not hesitate to fight his antagonists physically, especially in the pubs around Oxford. He began to display erratic behaviour, which may have been a result of excessive drinking or
258:. Marechera threatened to murder certain people and attempted to set the university on fire. He was also famous — or notorious — for having no respect for authority derived from notions of racial or class superiority. For trying to set the college on fire, Marechera was given two options: either to submit to a psychiatric examination or be sent down; he chose the latter, charging that they were mentally raping him.
407:, posthumously published in 1990, is set in a faculty of arts building that offers refuge for a group of intellectuals and artists from an unspecified war outside, which subsequently engulfs them as well. The conversation of the characters centres on African identity and the nature of art, with the protagonist arguing that the African image is merely another chauvinistic figure of authority.
215:, and in interviews, Marechera demonstrates remarkable imagination and skill in the blending of art and real life, using his constrained and traumatic ghetto upbringing to abstract about his father having been either run over by "a 20th-century train" or come home "with a knife sticking from his back" or having been "found in the hospital mortuary with his body riddled with bullets".
227:, his mother and sisters reportedly attempted to come and meet him but he rejected them offhand, accusing the mother of trying to kill him. Indeed, it is known from anecdotal accounts that Marechera never enjoyed strong relations with any member of his family after he came back to Rhodesia/Zimbabwe, up until the time he died in 1987.
324:). Marechera became something of an instant celebrity in the literary circles of England. However, his self-destruct button proved irresistible and he constantly caused outrage. At the buffet dinner for the award of the Guardian Fiction Prize, in a tantrum Marechera memorably began to launch plates at a chandelier. Nevertheless,
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especially the German scholar Flora Veit-Wild, who has written both a biography and a sourcebook of
Marechera's life and works. What Wild misses dismally is the fact that Marechera edited his own life as he went along. Wild seems to take many of the things she got from Marechera as facts. In an article in
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magazine in March 2012, Wild replied to the question about why she "did not write a proper
Dambudzo Marechera biography" by saying: "My answer was that I did not want to collapse his multi-faceted personality into one authoritative narrative but rather let the diverse voices speak for themselves. But
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It seems that
Marechera thought the British publishing establishment was ripping him off, so he resorted to raiding the Heinemann offices at odd times to ask for his royalties. Still, he lived in dire poverty and his physical health suffered greatly because he did not eat enough and drank too much.
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Marechera remains
Zimbabwe's most important cultural product on the creative writing front. Since his death, dozens of younger writers and many of his colleagues have written numerous accounts and biographies detailing his troubled life and works. In the 1990s, the most prominent were foreigners,
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In an interview, Marechera said of himself: "I think I am the doppelganger whom, until I appeared, African literature had not yet met." This is an accurate assessment of
Marechera's role in shocking the reader into looking at himself anew through the eyes of the other. His individualism, literary
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Prison in 1977 for possession of marijuana, and a decision regarding his deportation. He joined the rootless communities around Oxford and other places, sleeping in friends' sitting-rooms and writing various fictional and poetic pieces on park benches and being regularly mugged by thugs and
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309:. The book's long title story describes the narrator's troubled childhood and youth in colonial Rhodesia in a style that is emotionally compelling and verbally pyrotechnic. The narrative is characterized by shifts in time and place and a blurring of fantasy and reality.
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in central London, and it is believed that this is where he finished writing his first book. It was thus from the combined experiences at the
University of Rhodesia, Oxford and vagrancy on the streets of England and Wales that Marechera's most celebrated work,
172:, short story writer, playwright and poet. His short career produced a book of stories, two novels (one published posthumously), a book of plays, prose, and poetry, and a collection of poetry (also posthumous). His first book, a fiction collection entitled
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gave considerable weight to an account given by
Marechera's older brother, Michael, about what was said to be a destructive element in the younger Marechera's life. When Marechera returned from London and was made Writer-in-Residency at the
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this is not the whole truth. I could not write his life story because my own life was so intricately entangled with his." She then described in detail her very personal involvement with him over an 18-month period.
234:, where he clashed with his teachers over the colonial teaching syllabus, and he went on to the University of Rhodesia (now the University of Zimbabwe), from which he was expelled during student unrest, and
371:. Loosely structured and stylistically hallucinatory, with erudite digressions on various literary and philosophical points of discussion, Marechera's second book explores the idea of
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for
African and Afrocentric scholars and students. Some accounts suggest that Marechera married a British woman but not much is known about the union.
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experimentation, and iconoclasm ensure that his work resists narrow definitions; it is constantly shifting and crossing boundaries.
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in 1979. Marechera was best known for his abrasive, heavily detailed and self-aware writing, which was considered a new frontier in
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terrorized by the police for vagrancy. During this period, he also lived for many months in the squatting community at
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has stated that "today, Marechera is an icon for experimental fiction and cultural rebellion in
African literature.""
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He grew up amid racial discrimination, poverty, and violence. He attended St. Augustine's
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Marechera returned to the newly independent Zimbabwe in 1982 to assist in shooting the film of
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In search of original accounts of Marechera's childhood and upbringing, the German researcher
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414:(1992). Like his stories, his poems show the influence of modernist writers from
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Veit-Wild, Flora, "Dambudzo Marechera: A Preliminary Annotated Bibliography".
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Regarded as signalling a new trend of incisive and visionary African writing,
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At this point, Marechera's life became troubled, even landing him in
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Moving Spirit: The Legacy of Dambudzo Marechera in the 21st Century
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948:"A brief survey of the short story, part 54: Dambudzo Marechera"
935:"On Dambudzo Marechera: The Life and Times of an African Writer"
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Currey once described Marechera as "a one-man civil war". See
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Marechera's poetry was published posthumously under the title
959:"Dambudzo Marechera – His Life and Work (In His Own Words)"
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before his death there five years later in 1987, from an
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Dambudzo Marechera: A Source Book on his Life and Work
762:"The German Girl Who Made Love to Dambudzo Marechera"
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206:parents from the eastern-central part of Rhodesia.
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332:offered him positions as a writer-in-residence.
908:Veit-Wild, Flora, and Anthony Chennells (eds),
367:but it did not achieve the critical success of
254:but which the school psychologist diagnosed as
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617:"The Last Book I Loved, The House of Hunger"
336:Friends, fellow Zimbabwean students such as
910:Emerging Perspectives on Dambudzo Marechera
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340:(a poet in his own right), Rino Zhuwarara,
165:(4 June 1952 – 18 August 1987) was a
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687:Mushakavanhu, Tinashe (7 September 2019).
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348:, the cultural meeting-place in London's
898:, South Africa: Jacana Media Ltd, 2020,
283:Marechera's first book and magnum opus,
194:Marechera was born in Vengere Township,
1339:Rosehill: Portrait from a Midlands City
242:Publishing success and subsequent years
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395:-related pulmonary disorder, aged 35.
359:has been compared with the writing of
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912:. Trenton, Africa World Press, 1999,
787:"Happy Birthday, Dambudzo Marechera!"
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661:Mushakavanhu, Tinashe (3 June 2018).
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355:Marechera's 1980 experimental novel
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746:"Me and Dambudzo: a personal essay"
399:Mindblast; or, The Definitive Buddy
375:as a formal intellectual position.
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1099:When Did You Last See your Father?
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379:Return to Zimbabwe and final years
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785:Edoro, Ainehi (4 June 2015).
596:"Profile: Dambudzo Marechera"
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27:Zimbabwean writer (1952–1987)
869:, LIT Verlag Münster, 2012.
110:University of Rhodesia (now
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557:; Mandana Hendessi (2022).
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1142:In the Country of the Skin
663:"Home Means Nothing to Me"
543:, Encyclopædia Britannica.
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709:"Reincarnating Marechera"
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973:Beyond the Single Story
957:Tafadzwa Tichawangana,
850:Hamilton, Grant (ed.),
818:(2009). "Book Reviews:
735:, issue 69, March 2012.
330:University of Sheffield
305:and published in their
1535:20th-century squatters
1495:20th-century novelists
1229:A Month in the Country
1185:The Condition of Muzak
1033:Guardian Fiction Prize
854:, James Currey, 2013.
667:The Chimurenga Chronic
445:Guardian Fiction Prize
318:Guardian Fiction Prize
307:African Writers Series
225:University of Zimbabwe
180:Guardian Fiction Prize
154:Guardian Fiction Prize
112:University of Zimbabwe
884:, 14:2, 121–29, 1987.
767:12 March 2012 at the
602:'s information blog,
563:Tolmers Village Forum
316:was awarded the 1979
1555:Zimbabwean novelists
1371:The Devil's Own Work
1059:The Dear Green Place
969:"Dambudzo Marechera"
559:"Dambudzo Marechera"
541:"Dambudzo Marechera"
248:University of Oxford
117:University of Oxford
1429:Reading in the Dark
1395:The Eye in the Door
1217:The House of Hunger
985:Mail & Guardian
713:readingzimbabwe.com
625:, 18 November 2009.
487:The House of Hunger
385:The House of Hunger
369:The House of Hunger
342:Stanley Nyamfukudza
314:The House of Hunger
295:The House of Hunger
286:The House of Hunger
273:The House of Hunger
236:New College, Oxford
212:The House of Hunger
175:The House of Hunger
138:The House of Hunger
1530:People from Rusape
1500:20th-century poets
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1164:Friends and Romans
1079:A Song and a Dance
894:Veit-Wild, Flora,
887:Veit-Wild, Flora,
822:by James Currey".
820:Africa Writes Back
744:Veit-Wild, Flora,
642:. 20 February 2021
428:Christopher Okigbo
209:In his 1978 book,
184:African literature
163:Dambudzo Marechera
34:Dambudzo Marechera
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1286:Empire of the Sun
988:, 7 October 2021.
954:, 7 January 2014.
852:Reading Marechera
773:The Zimbabwe Mail
606:, 21 August 2011.
510:The Black Insider
405:The Black Insider
338:Musaemura Zimunya
291:Oxford University
200:Southern Rhodesia
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71:Southern Rhodesia
16:(Redirected from
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1207:Night in Tunisia
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1136:John Berger
1063:Archie Hind
1053:Clive Barry
1048:Crumb Borne
555:Kwesi Owusu
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361:James Joyce
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63:4 June 1952
1525:Male poets
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1400:Pat Barker
1343:Carol Lake
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1178:Robert Nye
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91:, Zimbabwe
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1363:1991–1998
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882:Zambesia
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765:Archived
733:Wasafiri
646:12 April
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196:Rusape
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126:Writer
89:Harare
67:Rusape
840:JSTOR
204:Shona
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