Chapter 1
Vivid imagery ipaints a picture of the war and its impact on the relationships between blacks and whites. The chapter’s tone is, therefore, one of desolation as death, war, and destruction are among the main themes. For instance, imagery describes the vivid scenes of destruction that follow the conflict with Mr. Wilson as, for instance, “The grass roof cackled, spat, and curved into the flames and a shower of crimson stars shot upward. This brings hopelessness to the first chapter.” In addition, the chapter uses a variety of literary devices including metaphors, similes, and personification amongst others to allow the reader to imagine the conflicts faced in the chapter.
The mood in the chapter is ominous as it speaks to the violence that followed colonialism. The war and vivid descriptions of the deaths of both the colonisers and colonised also highlight the tensions in the first chapter. However, the first chapter ends positively with the knowledge that a baby was saved. This helps to drive the concept of humanity within the man who finds the baby.
Juxtaposition is also used in the chapter to highlight the different lives of the colonised and the coloniser. The chapter begins by detailing the negative extremities of war, and how this affected the indigenous communities the most. The chapter then moves on to describe the Wilson’s homestead, which is located in a fertile valley, thus highlighting the differences between blacks and whites.
Sentence structure helps to highlight the various themes in the book. Long sentences describe the setting and the scenery of the chapter, while short sentences exacerbate the tension and conflict within the chapter. For instance, short sentences define the existing tension when the conflict comes to the Wilson’s door. The writer notes, “Hastily, Wilson snatched his pants. Even as he did so, a side of the roof began to the hiss and crackle.” These short sentences are therefore effective in creating tension and conflict.
Chapter 2
This chapter takes on a lighter mood and tone compared to the bloodshed and the gore of the preceding chapter. Chedu’s home is at the centre of the chapter and is presented as a loving and understanding home. Husband and wife move in sync, thus making decision-making easier. This also foreshadows the harmony in which their village exists. There is reverence for the leader, communal decision-making, and togetherness within the village. As such, humanity, love, and kindness characterise the chapter.
The chapter uses vivid imagery to describe the setting. The valley is “cradled in tranquil greyness.” In Chedu’s house, “the fire burned cheerfully.” The meeting place is covered by the “stars studded, glittered, and twinkled.” Using imagery helps to lighten the mood making it easier to read.
Stories are a part of tradition and culture within the village. When naming the new baby, the story-within-a-story technique is used. This highlights the meaning behind the name and the telling of stories to keep the village alive. Tichafa also uses another story to explain why they should not kill Jikinya. Using a historical anecdote from the village’s past, the elder is effective in dissuading people from killing the innocent child.
Leadership is also at the core of the chapter and this is embodied by the elder. When he speaks, people do not argue but take his word. The respect for humanity and kindness which has allowed the people in the valley to respect one another thus guides Tichafa’s leadership.
Chapter 3
This chapter details the tranquility and simplicity of pre-colonised Zimbabwe. The people have customs and traditions that they follow and these allow them to live in harmony with one another. The village itself teems with life and the writer uses vivid imagery to describe the setting of Ngara. For instance, sentences like “In the morning, the sun came up in splendor, burst over the wetness and smeared the water drops on the leaves with gold…” highlight the beauty of Ngara. In addition, the tasks that the different groups within the society carried out helped to bring order to the village. Men, women, young girls, and young boys all have different roles that allow the village to flourish as each does their own role without conflicting with each other. As such the tone and mood of the chapter is gay and light.
The tranquil setting of the chapter helps in bringing to the fore the two main characters, Jikinya and Tendai’s upbringing. As they grow, society socialises each of them to take on different roles. Both excel in their social roles as a young man and a young woman.
The chapter is also an interplay between peace and violence. Despite the overall tranquillity of the village, violence lurks within it, especially around the male characters. Even as a young boy playing house with other children, Tendai is violent enough to hit another child bloody. As he grows up in the forest, he is constantly in fights and while these seem to be a rite of passage, they are also seemingly pointless as the village is not at war. What this highlights is the frivolity of human nature that seeks to assert dominance through violence and force when not necessary. In addition, because of the reverence and celebration he receives, Tendai’s violence and physical strength give him power even among older people.
Grandfather, the old man Tichafa, is a voice and reason in the chapter. While he celebrates Tendai’s powers, he warns the young man against excesses as they may lead to unnecessary losses. As such while the village celebrates Tendai, it has to be done with utmost respect and discretion to ensure that peace continues to prevail.
Chapter 4
The final chapter in Jikinya brings out the tragedy in the novel. The chapter begins by shifting focus from Jikinya and Tendai as the main characters, with John becoming the protagonist. John, whose arrival in Ngara impends and brings a sense of danger as he is a white man and is different from the rest of Ngara, except for Jikinya, is also symbolised by the cry of the honey bird that Jikinya hears in the forest as she collects wood. His arrival is ominous and thus stands as a foreshadowing of what is to come
The chapter also highlights the importance of humanity and community in Ngara. The people of Ngara rally together in support of Jikinya when John intends to take her with him. This helps to highlight how the community looked beyond externalities such as skin colour to help in determining oneness and togetherness. In addition, the writer uses dreams to symbolise the importance of humanity. When a sudden desire to hit Tendai, John abruptly remembers his dream. In the dream, he attempts to hit an ape-like creature that immediately turns to resemble him. This helps to symbolise humanity where striking the next person is akin to striking oneself. When the strange men in the dream give him a bowl of liquid and continue with their gestures of kindness, he accepts their help. This helps in highlighting the oneness that is humanity, regardless of the different racial backgrounds.
The late rain is an indication of drought in Ngara. However, it also symbolises the changes that the Ngara will experience as a result of the presence of white men and the colonists.
The literary device of juxtaposition helps in bringing out key issues. For instance, age and wisdom make Tichafa both sad and peaceful. John observes the old man and concludes “There was peace and sadness on his face as if he was watching the birth of a child or the death of someone dear.” The story of eagle and the vulture, while symbolic, also highlight juxtaposition. Despite both birds being birds of prey and being strong in nature, Tichafa takes the eagle to mean a powerful force that still celebrates and respects life while the vulture is an equally powerful force that feasts on death. The eagle therefore represents the Ngara while the vulture represents the colonialists.
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