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Bennett Makalo Khaketla (1913– ) stands as one of Lesotho’s most distinguished literary figures, a poet, dramatist, novelist, and intellectual whose work captures the spiritual, social, and political struggles of the Basotho people. Often mentioned alongside K.E. Ntsane as a potential poet laureate of Lesotho, Khaketla’s contribution to Sesotho literature embodies the delicate balance between tradition and modernity, sorrow and resilience. His writing, steeped in melancholy, reflects both the pain of societal contradictions and the beauty of human endurance.
The Early Years: A Voice Rooted in Culture and Faith
Born in 1913 in Lesotho, then known as Basutoland, B.M. Khaketla grew up during a period of profound cultural transformation. Western education and Christianity were reshaping African societies, while colonial influences challenged indigenous structures. Khaketla’s work emerged at this crossroads—his pen becoming a bridge between the ancestral past and the uncertain modern present.
His first play, Moshoeshoe le Baruti (Moshoeshoe and the Missionaries) (1947), explores the historical encounter between King Moshoeshoe I, founder of the Basotho nation, and the early Christian missionaries. The play captures the tension between traditional authority and foreign religion, portraying Moshoeshoe not merely as a ruler but as a visionary grappling with the moral and cultural dilemmas of his time.
Drama and the Search for Moral Balance
Khaketla’s dramatic works continued to delve into the complexities of Basotho society. His acclaimed plays, Tholoana tsa Sethepu (The Fruit of Polygamy) (1954) and its sequel Bulane (1958), confront the ethical and emotional consequences of polygamy and primogeniture—two institutions deeply rooted in Basotho aristocratic tradition.
Through these works, Khaketla exposed the psychological conflicts within family and lineage, revealing how social norms could both sustain and suffocate individual happiness. His characters struggle between duty and desire, reflecting the broader tension between collective identity and personal freedom. This focus on moral introspection gives Khaketla’s plays a timeless human depth that transcends local themes.
Fiction and the Fragility of Human Emotion
Khaketla’s prose fiction carries the same emotional gravity as his drama. His first novel, Meokho ea Thabo (Tears of Joy) (1951), tells the story of a young couple forced into an arranged marriage—a common cultural practice at the time. Yet, through a twist of fate, the narrative ends in reconciliation and happiness. The story suggests Khaketla’s nuanced understanding of tradition—not as an enemy of progress but as a living force capable of adaptation.
In contrast, Mosali a Nkhola (The Woman Betrayed Me) (1960) presents a darker, tragic vision. Dealing with medicine murders—a taboo subject in Basotho society—the novel exposes the undercurrents of fear, superstition, and corruption in postcolonial Lesotho. It is one of the most haunting works in twentieth-century Southern African literature, marking Khaketla as a fearless observer of human cruelty and cultural decay.
The Poet’s Voice: Dipjamathe (Tidbits)
Though best known as a dramatist and novelist, Khaketla’s poetry stands as a rare and luminous facet of his artistry. His anthology Dipjamathe (Tidbits) (1954) reflects a keen lyrical sensibility, blending sorrow with reflection. Through concise and evocative verses, he contemplates life’s transience, the burden of memory, and the elusive search for meaning.
Khaketla’s poetic voice mirrors his prose—sober yet musical, critical yet compassionate. It reveals a man deeply in tune with his land’s rhythms and his people’s unspoken pain.
Beyond Literature: Scholar, Translator, and Cultural Leader
B.M. Khaketla’s intellectual pursuits extended far beyond creative writing. He translated H. Rider Haggard’s classic King Solomon’s Mines into Sesotho under the title Merafo ea Morena Salemone (1963), making global literature accessible to Basotho readers. His commitment to education also produced two Sesotho grammar books, which contributed significantly to linguistic preservation and academic study.
In 1970, he authored Lesotho 1970: An African Coup Under the Microscope, a bold political commentary analyzing the country’s post-independence crisis. The book displayed his sharp analytical mind and his courage to confront political injustice—a testament to his enduring role as both writer and conscience of the nation.
As editor of Mohlabani (The Warrior) in the mid-1950s, Khaketla fostered a vibrant cultural dialogue in Lesotho. The journal became a platform for emerging writers and thinkers, nurturing the literary and political awakening of a generation.
Legacy: The Melancholy and Majesty of a National Voice
B.M. Khaketla’s legacy lies in his profound engagement with the soul of Lesotho. His works—whether dramatic, poetic, or political—reflect a consistent vision: that of a writer deeply aware of his society’s wounds yet unwavering in his hope for renewal. His melancholic tone is not despair but wisdom—the voice of one who has seen both beauty and brokenness and sought to reconcile them through art.
Today, Khaketla remains a cornerstone of Sesotho literature, a bridge between past and present, tradition and progress. His commitment to truth, morality, and cultural identity continues to inspire African writers who view literature not just as art, but as a moral and historical duty.
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