By referring closely to” She No Longer Weeps” explain why some

critics say Tsitsi Dangarembga is a radical feminist.

Tsitsi Dangarembga, author of the play, “She No Longer Weeps” (1987) is
rendered by some critics as a radical feminist which relates to her fundamental
nature as a being. With reference to the play, the tone stylistic devices, language
(Diction), plot, themes and characters clearly depict why some critics say Tsitsi
Dangarembga is a time root and branch of feminism. The essay to follow shall
further explain why Dangarembga is labeled an entire feminist by other critics.
Firstly, readers get to have a glimpse of Dangarembga’s radical feminist nature
through the portrayal of female characters in her play. Tsitsi gives readers an
assumed exaggeration of how she herself suffers in the hands of an abusive
boyfriend named Freddy. Another example is of how she describes her mother as
well as her grandmother as all-time sufferers of manual laborers who knit for a
living throughout their lives. This view by Dangarembga whereby she feels the
jobs done by her grandparents where not fit is a clear depiction of how radical she
is towards feminism. Dangarembga is clear in her writing that as woman her
grandparents and mother should have taken other jobs deemed to be better such
as being a doctor or a lawyer. One cannot deny the fact that Dangarembga is
indeed a radical feminist for her yearning for better jobs is entirely inclined
towards woman.
Also, the manner in which Dangarembga uses her language towards man
throughout the play gives critics the ground to label her a radical feminist. Tsitsi
as the writer of the play uses negative diction on conversations between Martha
and Freddy. Tsitsi uses negative words such as horrible, idiot and “son of a bitch”
(page 7) as Martha describes Freddy in the play. A woman who uses such terms to
describe the father of her child is clearly unacceptable in an African patriarchal
society. Dangarembga’s tolerance for such language gives the readers and critics
courage to label her as a radical feminist. V.S Naipaul( )defines language is a
conduit of identity thus the use of negative diction by Dangarembga through
Martha shows readers how unfit Martha was to be a housewife. Her actions of
declaring to be independent even from her own parents can be attributed to
Dangarembga’s belief that woman can do without man alluding to the fact that
she is indeed a radical feminist.
In addition, woman cannot be denied the rights to be independent but, it is
through unity of both sexes that greater heights can be reached in society and all
over the world. Dangarembga also quotes Freddy saying “Nice woman are
bitches”, use of such negative language by the writer is undoubtedly a strategy to
stand up for the rights of woman. Dangarembga can be said to be the voice of the
voiceless rendering her a radical feminist.
The theme of feminism in the play “She No Longer Weeps” is a vivid picture to
readers and other critics that Dangarembga is an entire feminist. Throughout the
play the quest of freedom is only seen through woman as exemplified by Martha,
Chipo and Martha’s mother. These women are either portrayed as laborers or
viewed by man as prostitutes as seen through Gertrude. Man are seen to be okay
with the lives they are living which might not be true but because the writer has
voiced the concerns of woman it results in an unfair judgment of who really is the
sufferer in society.
Furthermore, the plot of the play seems to portray why Dangarembga is deemed
a radical feminist. When seen two opens, the tidiness and cleanliness in Freddy’s
house is suggested to have been a benefit of Martha’s presence. Another example
in the novel that proves Dangarembga is a radical feminist is shown through her
portrayal of male characters in the novel who never seem to be productive but
always engage in beer drinking and sexual fantasies with different woman. Not all
man in society are similar to Freddy. Some man is hardworking and even assist
their wives in house chores.
Adding on to the above, Dangarembga depicts Martha as one who hates house
duties such as ironing, washing and cleaning. Roles such as these ones in our
traditional African society where for the woman since they were subjected to stay
home whilst man went out to work. However, Dangarembga tries hard to show
readers through her writing that most woman seek change as to roles they are
attributed to for they now want to take up similar roles with man. Through the
above analysis one can never doubt why critics see Dangarembga as an entire
feminist.
Also, Tsitsi makes effective use of historical allusion in the play leading to critics
labeling her a radical feminist. In the play Martha is referred to as Turayi Ropa
one of Zimbabwe’s liberation war Heroine. Not only does the writer want to
praise woman’s ability to work hand in hand with man but she also seeks to
portray how strong and courageous some woman can be. War is not an easy thing
to think of and when woman take up such roles their efforts should be applauded.
The journey Martha took in the novel of raising her child as a single mother and
being able to graduate from college with a law degree can be likened to that of
Teurayi Ropa. It is undoubtable that Dangarembga absolutely stands with woman
for woman through her use of historical allusion.
Adding to the above, Dangarembga employs the use of rhetorical question in the
play “She No Longer Weeps” giving critics the green light to call her a radical
feminist. This is seen on page 34 when Lovemore asks Martha “The only thing you
love?” and Martha replies “Yes, the only thing I love.” Referring to her child. It is
through this feminist fantasy and education that has made Tsitsi Dangarembga
and a majority of woman feel independent from the need of man.
Furthermore, Dangarembga gets to be labeled a radical feminist by critics and
readers through her other texts such as “The Mournable Body” and “Nervous
Conditions”. In both novels female characters seem to be the only sufferers. It has
become a norm to face female characters that either suffer in the hands of man
or a bleeding economy in the majority of Dangarembga’s texts. Other critics have
begun to think Dangarembga was influenced by her childhood experiences thus
she writes on behalf of herself.