Department of English

Faculty of Arts, Chulalongkorn University


 

Something Nice from London

(2006)


Petina Gappah

(1971 – )

 

 

Notes

This short story first appeared in 2006 in Per Contra and in Farafina 8 and later collected in An Elegy for Easterly which won the Guardian First Book Award in 2009.


white elephant:

Mai: variant of amai meaning "mother"

yuwi: Shona expression of grief and pain

kani: Shona exclamation for "please" (Shona Dictionary)


non-agnatic:


that trio of horsemen...to bring the good news from Ghent to Aix: The poem is Robert Browning's "How They Brought the Good News from Ghent to Aix."


  • "How They Brought the Good News from Ghent to Aix," Select Poems of Robert Browning, ed. Percival Chubb (New York: Longmans, Green, and Co., 1905): 2–5.
     
    I sprang to the stirrup, and Joris, and he;
    I galloped, Dirck galloped, we galloped all three;
    ‘Good speed!'’ cried the watch, as the gate-bolts undrew;
    ‘Speed!’ echoed the wall to us galloping through;
    Behind shut the postern, the lights sank to rest,
    And into the midnight we galloped abreast.
     
    Not a word to each other; we kept the great pace
    Neck by neck, stride by stride, never changing our place;
    I turned in my saddle and made its girths tight,
    Then shortened each stirrup, and set the pique right,
    Rebuckled the cheek-strap, chained slacker the bit,
    Nor galloped less steadily Roland a whit.
     
    ’Twas moonset at starting; but while we drew near
    Lokeren, the cocks crew and twilight dawned clear;
    At Boom, a great yellow star came out to see;
    At Düffeld, ’twas morning as plain as could be;
    And from Mecheln church-steeple we heard the half-chime,
    So, Joris broke silence with, ‘Yet there is time!'’
     
    At Aershot, up leaped of a sudden the sun,
    And against him the cattle stood black every one,
    To stare through the mist at us galloping past,
    And I saw my stout galloper Roland at last,
    With resolute shoulders, each butting away
    The haze, as some bluff river headland its spray:
     
    And his low head and crest, just one sharp ear bent back
    For my voice, and the other pricked out on his track;
    And one eye’s black intelligence,—ever that glance
    O’er its white edge at me, his own master, askance!
    And the thick heavy spume-flakes which aye and anon
    His fierce lips shook upwards in galloping on.
     
    By Hasselt, Dirck groaned; and cried Joris, ‘Stay spur!
    Your Roos galloped bravely, the fault’s not in her,
    We’ll remember at Aix’—for one heard the quick wheeze
    Of her chest, saw the stretched neck and staggering knees,
    And sunk tail, and horrible heave of the flank,
    As down on her haunches she shuddered and sank.
     
    So, we were left galloping, Joris and I,
    Past Looz and past Tongres, no cloud in the sky;
    The broad sun above laughed a pitiless laugh,
    ’Neath our feet broke the brittle bright stubble like chaff;
    Till over by Dalhem a dome-spire sprang white,
    And ‘Gallop,’ gasped Joris, ‘for Aix is in sight!’
     
    ‘How they’ll greet us!’—and all in a moment his roan
    Rolled neck and croup over, lay dead as a stone;
    And there was my Roland to bear the whole weight
    Of the news which alone could save Aix from her fate,
    With his nostrils like pits full of blood to the brim,
    And with circles of red for his eye-sockets’ rim.
     
    Then I cast loose my buffcoat, each holster let fall,
    Shook off both my jack-boots, let go belt and all,
    Stood up in the stirrup, leaned, patted his ear,
    Called my Roland his pet-name, my horse without peer;
    Clapped my hands, laughed and sang, any noise, bad or good,
    Till at length into Aix Roland galloped and stood.
     
    And all I remember is—friends flocking round
    As I sat with his head ’twixt my knees on the ground;
    And no voice but was praising this Roland of mine,
    As I poured down his throat our last measure of wine,
    Which (the burgesses voted by common consent)
    Was no more than his due who brought good news from Ghent.
  • How They Brought the Good News from Ghent to Aix,” Poems by Robert Browning, ed. Cornelia Beare (New York: Charles E. Merrill, 1909): 20.
    The “good news” of this stirring ballad is intended for that of the Pacification of Ghent, a treaty of union entered into by Holland, Zealand, and the southern Netherlands against the tyrannical Philip II., in 1576. The incident of the poem is not historical. “I wrote it,” says Browning, “under the bulwark of a vessel off the African coast, after I had been at sea long enough to appreciate even the fancy of a gallop on the back of a certain good horse ‘York’ then in my stable at home.”
  • How the Good News was Brought from Ghent to Aix,” Robert Browning: A Selection of Poems (1835–1864), ed. W. T. Young (Cambridge: Cambridge UP, 1929): 213.
    If the good news is that of the pacification of Ghent (1578), by which its citizens gained a momentary advantage over the Spanish garrison, then Browning's date 16— must be interpreted with considerable freedom. There is no historical record of such a ride. [...] It has been suggested that the poet's journeyings through the Low Countries to Russia in 1834 familiarised him to some extent with the route and cities, through one may note that the names of the towns are given in four different languages. It would appear that the horse Roland, the hero of this “ballad of brave horses,” covered some 120 miles in about 12 hours. This may well be named the “great pace.” The metre, which is anapaestic with frequent substitutions of one accented syllable for two unaccented, is admirably suited to echo the clattering hoofs of the horses, and to reinforce the growing excitement of the narrative till it reaches its highest pitch in stanza ix.
    Aix is Aix-la-Chapelle, called Aachen by the Germans, to whom it now belongs. It was founded by Charlemagne; until the sixteenth century the emperors were all crowned there.

 





 

 

Study Questions

  • What pronouns are used for the speaking voice? How do they constitute the narrating identity and point of view?
  • Consider absolute language in the story like "dictate," "cannot" and "uncompromising." What are these inflexible terms used to describe?
  • In contrast to fixed and definite vocabulary, what words are used to describe uncertainty? What things are unclear or changeable?

            

 


 

Vocabulary

 

point of view
narrator, speaker
character, characterization
reported speech
plot
complication
suspense
climax
diction
irony
sarcasm
contrast
imagery
present tense
ritual
rules
tradition
performance
drama, dramatic
family
kinship
relationships
dynamics
politics
government
history
agency


 

Review Sheet

 

Characters

Mary Chikwiro, "I," – "'You are surely Mary Chikwiro...I have a picture of you here.' Through my tears I see a picture of me with Lisa and Peter sitting beneath the mango tree outside our house"; "I feel rage so bitter that is is like bile in my mouth"; "I do not cry for him"
Jonathan – Mary's brother; "Jonathan has reached his limits and has to restrain himself from saying to the the fathers of the clan that if they want to bury him in Shurugwi, they have to pay"; "He cannot find the words to tell us, and he only shakes his head"
Lisa – Mary's cousin; "Lisa calls that evening to explain"
MaiLisa – Lisa's mother; "My paternal aunt MaiLisa outdoes them all as she hops first on one leg, then the other [...] wails with her face to the sky. [...] She nearly fells my mother as she embraces her"; "stealing glances at my mother"
Peter – "'Peter's body did not arrive'"; "There will be a post-mortem"; "Peter had died in an area in which there were many junkies. It was only a week after he died that he had been identified. And it seemed there would be at least one week, possibly two, before he can come home"; "his remains congeal in the drawer of a mortuary in a foreign land"; "hatred for him and his miserable little life and what he has done to our family"
Mary's mother – "My mother begins to laugh, a sound that is worse than any crying. We watch her become unhinged [...] I watch my mother become a spectacle for the amusement of strangers"; "My mother's moment of hysteria does not last and it gives way to her usual catatonia"; "my mother drops to the ground in faint"
Mukai – Jonathan's wife;

Setting

Zimbabwe
    airport – "The Chinese built this airport when the old one became too small"
    Shurugwi – "He [Mary's father] had been lent to us as husband and father, but in death the clan reclaimed him. They buried him in Shurugwi, where we had to travel for hours on uncertain roads to visit his grave"


England

    London – "She has travelled up to Birmingham from London"




Sample Student Responses to Petina Gappah's "Something Nice from London" 


Response 1:


 

 

 

 

 

Ticha Laohawirun

2202235 Reading and Analysis for to the Study of English Literature

Acharn Puckpan Tipayamontri

March 28, 2016

Reading Response 3

 

Title

Text.

 

 

 

 

 

            




Reference

 

Links
Zimbabwean Funerals
Shona Language

 

 

Media
  • "Petina Gappah with Bola Mosuro on Network Africa," BBC Africa (2009; 9:20 min.)

  • "Liberty in Zimbabwe discussed by Petina Gappah and Ben Wilson," Faber and Faber (2009)

  • "A Decent Send-Off: Zimbabwean Funeral Tradition," Tendai MCZ (2014; 2:33 min.)

  • "Zimbabwe Inflation Rate Hits 11.2 Million Per Cent," NTV Kenya (2008; 2:09 min.)

  • "Zimbabwe's Descent into Anarchy," Journeyman Pictures (2007; 25:01 min.)

  • Something Nice from London, Latimer Group (2015 film; 56:54 min.)

 

 

Petina Gappah

Interviews

 

 


Reference

Gappah, Petina. "Something Nice from London." An Elegy for Easterly. London: Faber and Faber, 2009. Print. 75–102. Print.



Further Reading


Gappah, Petina. An Elegy for Easterly. London: Faber and Faber, 2009. Print.


Gappah, Petina. The Book of Memory. London: Faber and Faber, 2015. Print.

 

 

 

 

 

 


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Last updated April 4, 2016