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Nothing’s changed by Tatamkhulu Afrika
Small round hard stones click
under my heels,
seeding grasses thrust
bearded seeds
into trouser cuffs, cans,
trodden on, crunch
in tall, purple-flowering,
amiable weeds.
District six.
No board says it is:
but my feet know,
and my hands,
and the skin about my bones,
and the soft labouring of my lungs,
and the hot, white, inwards turning
anger of my eyes.
Brash with glass,
name flaring like a flag,
it squats
in the grass and weeds,
incipient Port Jackson trees:
new, up-market, haute cuisine,
guard at the gatepost,
whites only inn.
No sign says it is:
But we know where we belong.
General Introduction
"Nothing's Changed" by Tatamkhulu Afrika is a poignant and evocative poem that reflects the lingering effects of apartheid in South Africa. The poet, drawing from his own experiences, portrays a landscape marred by racial segregation and inequality. The poem contrasts the past with the present, showing that despite the end of official apartheid, the divisions and injustices remain. Through vivid imagery and a powerful narrative, Afrika conveys a deep sense of frustration and anger over the enduring racial divide.
Title
The title "Nothing's Changed" is a stark declaration that despite the formal end of apartheid, the socio-economic and racial inequalities have persisted. It suggests a sense of stasis and disillusionment, indicating that the anticipated change and reconciliation have not materialized. The title sets the tone for the poem, preparing the reader for a narrative of continued injustice and unfulfilled promises.
Themes
1. Racial Inequality
- "guard at the gatepost, whites only inn."
This line highlights the ongoing segregation and exclusivity that persists even after the official end of apartheid. The "whites only inn" symbolizes the enduring privilege and separation based on race.
2. Nostalgia and Memory
- "District six. No board says it is: but my feet know,"
The speaker’s familiarity with District Six, despite the lack of signage, emphasizes the deep personal and historical connection to the place. This evokes a sense of nostalgia and the haunting presence of memories of a once familiar and inhabited area now transformed.
3. Anger and Resentment
- "the hot, white, inwards turning anger of my eyes."
The intense anger described here reflects the speaker's internal struggle and emotional turmoil. The use of "hot" and "white" underscores the seething rage that comes from witnessing the unchanged state of racial disparity.
4. Displacement and Loss
- "Small round hard stones click under my heels,"
The clicking of stones underfoot signifies the physical return to a place that has drastically changed, symbolizing the displacement and loss experienced by those who were forcibly removed from their homes.
5. Socio-Economic Division
- "new, up-market, haute cuisine,"
This phrase contrasts starkly with the surrounding environment, highlighting the socio-economic disparities that continue to exist. The "haute cuisine" establishment represents the wealth and exclusivity enjoyed by a select few, while the majority remain marginalized.
Literary Devices
1. Imagery
- "tall, purple-flowering, amiable weeds."
This vivid imagery creates a stark visual contrast between the natural beauty and the underlying social issues. The "purple-flowering" weeds symbolize resilience amidst neglect and decay.
2. Metaphor
- "anger of my eyes."
This metaphor conveys the intense emotion felt by the speaker. By describing anger as something seen in the eyes, the poem personalizes and intensifies the emotional response to the unchanged social landscape.
3. Alliteration
- "Small round hard stones click."
The repetition of the 's' and 'c' sounds mimics the sound of stones underfoot, enhancing the sensory experience of the poem and drawing attention to the physicality of the place.
4. Personification
- "it squats in the grass and weeds,"
The building is given a human-like quality of squatting, suggesting it does not belong there, intruding upon the natural and historical landscape.
5. Symbolism
- "District six."
District Six is symbolic of the broader injustices of apartheid. It stands as a symbol for the forced removals and systemic discrimination faced by non-white South Africans.
6. Repetition
- "No board says it is: but my feet know,"
The repetition of "No board says it is" emphasizes the invisibility of the place's history and the enduring knowledge and pain carried by those who remember it.
Language and Mood
The language in "Nothing's Changed" is direct and evocative, using simple yet powerful descriptions to convey complex emotions. The mood is one of melancholy, anger, and defiance. The speaker’s tone reflects a deep-seated frustration and a longing for justice and recognition of past wrongs. The language also shifts between descriptive and accusatory, reinforcing the sense of ongoing injustice and unresolved tension.
Context
Tatamkhulu Afrika, born in Egypt and raised in South Africa, was an anti-apartheid activist who experienced the systemic racism and forced removals firsthand. District Six, a former inner-city residential area in Cape Town, was demolished during apartheid to make way for white-only developments. The poem reflects Afrika's personal connection to this history and his broader critique of the persistent inequalities in post-apartheid South Africa.
Conclusion
"Nothing's Changed" is a powerful commentary on the enduring legacy of apartheid. Through its vivid imagery, potent themes, and emotional resonance, the poem captures the deep sense of disillusionment and anger felt by those who witnessed the slow pace of change. Tatamkhulu Afrika's work serves as a reminder of the long road to true equality and the need to acknowledge and address the past's injustices.
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