“…The struggle of black people inevitably appear in an intensely cultural form because the social formation in which their distinct political traditions are now manifest has constructed the arena of politics on ground overshadowed by centuries of metropolitan capitalist development, thereby denying them recognition as legitimate politics. Blacks conduct a class struggle in and through race. The BC of race and class cannot be empirically separated, the class character of black struggles is not a result of the fact that blacks are predominantly proletarian, thought this is true…”- (Frank Talk Staff Writers in ‘Azania Salutes Tosh’ – circa 1981)
front cover:
Tosh by Steve Gordon
back cover:
Kippie by Basil Breakey
In this seminal novel of conflict and attempted reconciliation, we follow Kitso whose father had expelled him from the family home in Soweto on account of his youthful homosexual encounter with Themba, a local friend, but who returns for the first time since that trauma to attend his father’s funeral. The background to all that happens is the family’s membership in the Jehovah Witnesses church and its very strict and exclusivist interpretation of human relations, particularly its repressive control of sexuality. Kitso brings his young son, Ntokozo, on the trip, but practically abandons the boy to the care of his brother’s wife for the few days that he is home. Overwhelmed by the shock and tension of again inter-acting with family and friends – including a now married, heterosexual Themba – Kitso sets out on a series of hard-core gay sex adventures. In addition, his heavy drinking and general submergence in self-destructive behaviour further alienates him from the family and eventually sees him leave with little to show for his return. No Poison No Paradise is thus a work charting pain, loss, reckless pursuit of pleasure and the anguish of dissolution as Kitso struggles to come to terms with sundered relationships and attempts to find a place of refuge and joy in a world of rejection and ambivalence.