Loit Sōls praat met Naomi Meyer oor sy bundel Moerstaāl.
Boekomslag: NB-Uitgewers
Moerstaāl
Loit Sōls
Kwela
ISBN: 9780795710599
Moerstaāl is innie heēl eēste plek ’n journey van explorations across baie genres, including krye cultivation, om trig hys toe te kom na my Komvandaan, en my sigsèlwis: lgn issie ynlik my eie gibryk-ie. Ek sèlf gibryk “mysèlwis”, but isse way vi my (sometimes at my eie expense, in terms van “hint ek nou miskien naë certain throw-backism”?) ommie age group, net soe vyf tot tien jaā voō my, te include innie circle van my wēk se readership. Die issie generation wat nog terms soes, oa “in the good old days,” en “nineteen fok-hīe-yt,” gibryk. “Back in the day” en “nineteen voetsek” is vannie current gibrykke. Ek gibryk altwīe, virrie sèlle rīedde, nevermine di potential throw-backism lable. Hy kan ma nog vissies gan spieg.
1.
a. Loit, so lekker om jou te kan gelukwens met Moerstaal. Baie geluk daarmee!
b. Jare gelede al is daar gedigte van jou in die Groot Verseboek opgeneem.
c. En daar was ook drie ander digbundels uit jou pen.
d. Ek is bly oor hierdie nuwe bundel van jou.
e. Jy is ook die pa van ’n taal: Ghoema. Om daarin te skryf, bedoel ek – dis baie uniek. Vertel asseblief vir ons lesers hiervan.
f. Ook die gebruik van die leestekens, die uitspraak, die klank/musiek daarvan.
a. Kai gangans virrie genuine gillikwēnsing moet Moerstaāl Naomi, but onhou net dié neh; sōnne krye het ek niks music in my sye, wat nog van skryfstills.
b. Groot Verse is, literature-giwwys (LG), ’n major feat ja, jassis. Ek is innie process van apply virre major writers’ residency watte comprehensive CV require, soe ek include oek allie anne tributes en anne bloemlīesings moet van my wēk in, bv Die Afrikaanse literatuur 1652–2004, Nuwe verset, Die mooiste Afrikaanse liefdesgedigte, Perspektief en Profiel Deel 3 ennie Dutch-compiled anthologies: O wye en droewe land en Die Afrikaans poësie in ’n duisend en enkele gedigte. Kannie bilieve, daās even eēnne inne SA Ingils eēnne in: A Century of SouthAfrican Poetry, enne paā innie education sector se gr 12 handtboekke: Verswêreld en Versreise. Oekke goeie paā translations in French, Nederlands en Bahasa Indonesian. Allie above is gisource yt my debut-bundle My Straat en anne praat-poems (1998/9), wat, tot my complete surprise, phenomenally doen:
vikoep yt in 9 maānne,
wōdt weē gireprint,
en innie wingkils byrrie 10e maāndt,
en kom oek in anmēking byrrie oōhandiging vannie Ingrid Jonker-Prys in 1999.
Innie sèlle jaā donate ekke copy van My straat annie Alliance Française in Mitchells Plain. Nā afloep van My straat se teksvisōging moet Daniel Hugo, gift ek hom eēn van my sèlf-sculptures (in papier mâché), wattie mascot vi My straat was. Maergat, my eēste performance-poetry theatre production by Artscape se Theatre-on-the-Side in 2001, is oek gi-engender yt dié tèlling bundle van surprises. Diesèlle jaā is ekkie Guest of Honour byrrie launch vannie program virrie 2001 Woordfees se 2000 en een Nagte, waā ek appear as Die Hotnotsgodt, complete moet groen giwaādt en rooi tinted horn-rimmed brillitsies, soes Antie Mantis, op Nasdak. Gian Groen en sy band Spinnekop wassie band virrie occasion. Ek was net daā om rōndt te staān en mooi lyk, but ek het toe innie band se smoke/drink/snort break, iets giperform wat djy probably ken al, om ek soe baie van my eie music van dai period, in en ommie Hys gispeēllit. Sometimes diep agte, of innie bib.
Serious Kak-Praāt publish ek sèlf in 2000, maākkie design en layout klaā innie Media Centre vannie 2000 KKNK, lat print 200 copies oppe photostat machine innie Oudtshoorn-dorp, en vikoep hille ammal binne 3 dae yt, oppie straātte, restaurants en oppie festival terrein @ R20.00 per copy = R4,000.00. At turn of the century prysse, was dai nog baie goeie gèldt.
Die Faraway klanke vanne Hadeda is byrrie national repository Amazwi in Grahamstown, en in 2014 donate ekke copy annie township bib van Bonteheuwel innie Mother City. Ek hou oekke praātsie oōrrit, vannie skryf-process ennie spèl-stōrie.
Dan, jassis, yttie bloute kom drie visual artists moet portrait oil paintings van my en my wēk, oa: Anthea Delmotte, Gary Frier en Estelle Haasbroek. Lgn doenne rendition in acrylics (wat oppie 2016 Tuin van Digters se visual art exhibition debut) vanne skryfstill yt Hadeda: ’n excerpt yttie opening skryfstill, moet trots.
Vi’ Miste’ As is in 2011, op special request giskrywwe Vi’Adam Small: ’n Digbundel (Naledi 2012). Dai tydt toe doen ek nog “skryfsils”.
Yt Bellville-South enter Mia Arderne my Goema fray, soe deērrie krye, en use my naām proudly niks minnirre as ses keē in hā article van Paulet-Hys, oppie JGF site: “The stars are different in the Eastern Cape.” Die isse definite first vi my, LG. Kai gangans Mia, virrie meērre as half-doessyn acknowledgements vannie krye en van my.
My groōtste eērbiwys though, LG, nā ek debut moet My Straat, en wat my windt nou-nog ytslat, isse Nama-Afriekaānse poem: Vir Loit Sôls. Die is directly yt my community, ingistīe nā eēn vannie Burger se baie skoōl poetry-competitions, onne redaksie van newbie, Heinrich Wyngaardt, die ever-smiley. Die sender drai toe yt inne high school student op Brandvlei in Boesmanland, Eleanor Christians (wil djy-rie poem sien? Is net 4 lines), wat sadly jongkies oōlīedde is.
Moet My straat en Hadeda, ennie guitar en drom, present ekkie foundation-phase in Gowaba moet students by primary en hoë-skoōlle innie Hessekwa. Buttie voō ek krye gidringkkit en gichant-it byrrie hys-ie.
c. Die drie bundles, die klangke, die music, die krye, kom yrrie brīërre community Naomi. Ekkis ma nette catchment area en portal, vi streams, stringe, ribbons, fragments, fynste gossammer van thought en thought-forms, en energy en consciousness om deē te flow, na of skryfstills of songs, of chants en sighings moet niewwe melodies, spontaneously, en oppie spot, gi-create.
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Die drie bundles, die klangke, die music, die krye, kom yrrie brīërre community Naomi. Ekkis ma nette catchment area en portal, vi streams, stringe, ribbons, fragments, fynste gossammer van thought en thought-forms, en energy en consciousness om deē te flow, na of skryfstills of songs, of chants en sighings moet niewwe melodies, spontaneously, en oppie spot, gi-create.
..............
En wōdt nooit girecord oppe production. Hopefully eēn dag is ekke underground aquifer, wanne ek vi Mr Graves mīet, op my way (gr)af. Plant net klom krye daā; Loit lē hīe waā sy krye staān.
d. Kai gangans vi jou blydtskap moet Moerstaāl se publication. Ek wadeērrit hoa.
e. Ekkis wèlle pa, ma dai van krye-konkoksies en compositions in music, mannie dai vanne Moeddirtaāl; Goema (“Ghoema” ytgispriek) coexist, langk voō ekkie lig sien hīe as spirit, being human, nevemine noggie tydt van my birth en involvement innit (dai’s nou in Goema).
...........
Om innit te skryf is quite magical, wan ek sirrit neē net precisely soes ek praāt, often nā ek krye gidringkkit en gichant-it. Nie nog baie filters op dai gideēlte vannie writing process-ie. Nikse worries van hoerrit ynlik moét gispèl wōdt in Standaardafrikaans, wat pitei mēnse, wiennie “goedt” kan spèl innit, se unfortunate bête noire is.
............
Om innit te skryf is quite magical, wan ek sirrit neē net precisely soes ek praāt, often nā ek krye gidringkkit en gichant-it. Nie nog baie filters op dai gideēlte vannie writing process-ie. Nikse worries van hoerrit ynlik moét gispèl wōdt in Standaardafrikaans, wat pitei mēnse, wiennie “goedt” kan spèl innit, se unfortunate bête noire is. En, op dai vibe, is die ynlik ’n non-punitive device wat vi mēnse proactively urge ommie te veēl te worry vannie spēllieng-ie; kyk hoe spèl ek soe vikeēdt soesse rōnne circle, ’n leë emty wat agtintoe reverse; allis wattie semantically reg is, but oekkie vikeēdt-ie. Dai’s part van Goema se magic; reg en vikeēdt feature ma min. Ek sal bv vi nieman sē hille spèl vikeēdt-ie. Ek kan dan ma net soe wèl vi dai ieman insult en sē dai pisoōn is poes-lillik. Die hurt issie sèlle vi certain mēnse. Ek sal liewwiste dai pisoōn anrai om weē vikeēdt te skryf. Die idea is, kry asb nerrie stōrie yt jou yt en neē oppie blaai/screen. Dai’s bai meē important as om byrrie regte spèllieng yt te ko; dié kan jou stōrie big-time constipate. Van kwai wil spèl, issie stōrie toe hèl.
f. Wattie līestiekkins bitref slyt hille generally an by my previous bundles, en issie ytspraāk marrie sèlle, but nierrie look:
Die makron op certain klingkes (ā, ē, ī, ō) is gelīen van ōs ancient Eēste Inhiemse Moeddirtaāl, waāvan “Khoekhoegowab” currently die contentious standardized version is, aka Gowaba, die voer-woōdt onne speakers warrit as eēste taāl ken in Namakwalandt en Namibia en anne deēlle van dai omtes. “Khoekhoegowab” se distribution oō Syddir Afrika is, according toerrie skrolle: “Namibia, Botswana, and South Africa, primarily by three ethnic groups, Namakhoen, ǂNūkhoen and Hai‖omkhoen.” (Brenzinger en Matthias 2011)
Die makron het nóg 2 doelle:
- Replace meēste kappies, bv:
môrestêr/mōrestēr; grênd/grēn (mkhulu; grand); snôr/snōr
- Waā diftonge giskiedt, raākkie makron-gimērkte vowel ’n notiticication wat announce darrie eēste vowel, in future wēke van my, gan wegval, bv: vistaān/vistān; oō/ō (oor; ngaphaya; over) nāboōtsing/nābōtsing. Ytspraāk bly-rie sèlle though
Die gravis se particular gibryk bring weē iets van Europe-Wes se taālle innie move, bv:
giskel/giskèl; opgitel/opgitèl; hel/hèl
Die akuut is net vi stres, bv:
“Vat dié asb, nie dái.”
Die double-consonants is gi-increase om Goema se klangknāboōtsings-aspects meērre
op te wys.
BTW, soes djy miskien kan oplet, praāttik meēssal vannie wēk en van Moeddirtāle, Gowaba, Goema, die klangke, music, krye, etc, min van mysèlf. Publicity is virrie wēk, nie vi my of van my te veēl-ie. Hou nie van te veēl attention, specially media attention.
2.
a. Wanneer het jy geweet: jou bundel se naam moet “Moerstaal” wees?
b. En praat asseblief met my oor die omslag – en hoe belangrik was die detail en besonderhede van die omslag vir jou.
a. Ekkis saām merrie naām vi my thesis, yrrie Hessekwa, Rhodes toe in 2020, but gidecide ommit vi eēs Aloe te noem, om ek my klongkie soe viskriklik gimissit deērrie course. Ek moes iets doen om hom 25/8 in my space te het, albeit in absentia. Of course het baie krye en chants en daily phone-calls en WhatsApps baie gihèlp.
b. Die cover se artwork en design-challenges was baie, but ekkit hille ammal innie capable hanne gissit van professional graphic designer/master-painter, Terence Visagie (bikendt vi sy vibrant en airy oils van riel-dānsis innie sand en stof), including allie detail (bv die groen, innie orange doek en my naām reflect my absolute adoration vi krye, but understated) in my kop. Ek het kind-of creative direction skills gi-apply oppit, van my graphic journalism viliedde by You.
3.
a. Loit, ek sien ’n tema in sommige van jou gedigte en jy het in die Paulethuis met my ook hieroor gepraat: wat beteken one-upmanship vir jou?
a. One-upmanship isse strange phenomenon wat ek observe, nie in ōsse beste interest serve as Saffers specifically, en die wēril, in general. Wat nog vannie socio-linguistic aspects van Mother-tongue onnirrig, innie spry-ligte vannie on-going national Aboriginal Restoration Project. Strange, ommit-ie hoarding need bivat; om meērre te het as annis. Somewhere diep innie past het os ginoeg gihadt. Die bartering-sistim het os goedt gidrā. Daā was niks fight oō resources tissinie nations. Toe gibeērrit soe, datte siekkirre group se need groōttirre giraākkit asse anne sinne. Dai need het soes rising damp se nat, koue vingis, hille sense of empathy bigginne bitas en bivrot. En, toe soe angitas, bietsie vi bietsie la krimp; is nou inne hoek gidryf, en iets inne hoek is desperate. Of course ek mean oppe psychological.
Die one-upmanship syndrome ly tot: Power oō, nie mét; Mag oor, nie mét; Amandla ngaphezulu, hayi nge; Power over, not with (White Supremacist-hille).
One-upmanship is Biheē oō, nie mét; Beheer oor, nie mét; Lawulo ngaphezulu, hayi nge; Control over, not with (Gangster Government-hille).
One-upmanship isse living entity, en greed, wat sadly ingikryppit ennie norrim giraākkit van compulsive, issie shadow (Corrupt en Corrupted Cops-hille).
It het oek inne enorm corrupted state moet impunity gimorph jassis! En, soes predicted, bigginne dai slang homsèlf nou op te gobble (ANC Sèlf-Con-hille).
Die Ou Man se woōrre ring hollow deēsdae deērrie dusty straātte vannie South African national city ghetto en rural township:
“If the ANC does to you what the Apartheid government …”
Sorry, it het my moeg, but ja, iets soes dai.
4.
a. Ek kan baie van jou gedigte sommer so hoor asof jy dit sing.
b. Vertel my van jou liefde vir musiek, en eintlik vra ek maar net vir jou oor jou liefde vir woorde. Want die taal en die klank en die lied gaan saam.
c. Praat ook sommer oor jou komposisies in Paulethuis,
d. en waarmee jy orals kan musiek maak?
a. Soe reflect-it in my skryfstills, nie net dies van Moerstaāl, but oek my anne bundles. In Standaardafrikaans en -engels, sal hille soes lame ducks ytkom. My particular gibryk van Goema is my way van, nie net al my anne Moerstāle recognize, embrace en animate, but reclaim en eien, en klangk-poetry, skryfstills en music, en vrinne maāk, moet hille ammal — combined, vi my Ma, Mammie, my Moeddir, my Moe’r. Most ironic dat ieman, wat soe baie upheavals gikryrit hā heēlle līewwe langk asse “Coloured” domestic worker, moet “Other-Coloured“ kinnis, se epitaph sal līes: “My comic life.” In Kwela se skrywe agte-op Moerstaāl sērie writer moet deēnis:
“Sy is die vrou wat onderdruk en misken is, en wie se bydrae en plek, soos die van die taal, deur die gedigte herstel en openbaar word.”
Ancestral wisdom light my op, dat sy al apathydt se suspended empathy en emotional constipation gi-transcend-it. Nie ammal was, en is, soe fortunate; die widespread trauma is so oegloeppindt en dangerous voōrrintoe, soessie los nerve-endings van lektriek cables wat in crazy disarray hang oōrrie landscapes van tightly packed hokkies, langkal-ie meē exclusively net langisie N1.
b en c. Sound-poetry en krye is my soetste inner- en through-healing; die spontaneous, ventilated, dancing, klangk-gidigte, wat on-the-spot gi-compose wōdt, deē mysèlf en my ancestral shaman, ennie space en atmosphere waā-in ōs is, saāmme my writing Ancients. Dié maāk vi my meē en meē oeppe, asse portal en crucible vi Goema om deē te kom, in klangk, woōdt en riddim, en dai anne ding wat noggië naām hettie. Ek dringk hille ammil saām soesse lekke dose infused krye.
Op dié heppie note wil ek baie graāg iets moet jou deēl, van wat Bronwyn Davids vi my, net giste-oggin skryf inne email, about my skryfstills in general, wat sy baie comfortably “stills” noem, en specifically my eēste Goema skryfstill oppie JGF Site, Skrystill Nomme Eēn, wat sy innie meantime successfully gifuse-it moette photo-essay saām moet photographer Gys Loubser:
“…about the Skryf-stills. It was the humility and gratitude that shone through in the words. You weren’t just giving to all who were there at that particular moment but to all who had ever been there from way before Paulet and Prof and everyone else. It is deeply spiritual, giving work. It is what everyone feels when we go there but could never quite encapsulate in words.
I read this story on Facebook by an ex-pat New York-based Political Science professor, Sean Jacobs. He posted about Willie Nelson and Wynton Marsalis performing together, and at the top of a link to the New York Times review of the collab, Sean extracted this:
"It’s impossible to name a white performer more steeped in qualities we associate with Black music – syncopation, improvisation, blue notes, the push and pull between sacred and earthly yearnings – yet not a trace of minstrelsy can be detected in (Willie Nelson's) sound."(NYT) Sean Jacobs.
Sbongile Mbiko: “Though nominally a country artist, he is really more like an American musical unconscious, tapped into the deepest wellsprings of popular song. He has a way of making everything he sings – from “Amazing Grace” and “Danny Boy” to “Time After Time” (the Cyndi Lauper song) and “The Rainbow Connection” (the Kermit the Frog song) – sound Platonic and primordial. The only comparable figures, according to Marsalis, are Ray Charles and Louis Armstrong. “To be great in all the forms that Willie is great in – it’s extremely rare,” he says. “He has whatever that spiritual thing is, that thing you can’t describe. It’s like a shamanistic type of insight into the nature of all things. From that place of understanding, he can play anything he wants to play that comes out of the American tradition.”
Perhaps the yellow highlighted words are what I saw in your stills. I got the sense that you were tapping in deep and that you were actually giving the stills to Prof, as well. And perhaps the word Marsalis is missing in his comment is the word, humility – a sort of “I don’t have much, but this is all I have to give.” – that’s the essence of your Stills.
Hope it explains.”
– Bronwyn Davids
Die’s siekke ma part vannie essence vannit, waā-in al my pyn, truth, frustrations, idiosyncrasies, liefde, misgivings, contradictions, uncertainties, joy, stop-starts, unrequieteds, stilte, gan. Dan is daā dai one-dimensional blank space, innie three-dimensional unfolding reality vannie writing- environment, waā-in djy skrywwe; die energy, die atmosphere, die acoustics, die harmonics, die ambience, die vibe; die stilte; die quality van hille combined, affect die writing se outcomes greatly, en, nie soe greatly, depending jou perspective/angle.
En dannie epiphanies, wanne djy — suddenly, nie net iets wiet, sōnne om ooit dai ding ooit te gi-research-it of gi-study-rit, but oek, virre extended moment, ’n feel kry, vannie texture van |oms, siel, umphefumlo; soul, deērrie level van connection wattie klangk, wat emanate vannie instrument (mēns of musicial instrument). Die final song het ek gidecide om solo, en normal, te compose; dissie Hys se song vi ōs group, Heēl dag oggindt.
d. Omtren allis is condusive toe music maāk. Die original mēns isse musical instrument, en kom moette drum-beat enne riddim, en laāste, buttie-rie minste; harmony, possibly-rie most beautiful human trait, en nie net in music en rhythm. ’n Guitar isse great instrument, but sy kom tot hā greatness – net deē engagement; net soe humans.
5.
a. Ek kan nie help om sulke persoonlike vrae te vra nie, maar ek hoor so baie liefde vir jou kind in die gedigte.
b. Die man wat die gedigte skryf, oor alles waarvoor jy kwaad is, oor alles wat jou seergemaak het en jou banggemaak het toe JY klein was...
c. Hoe is dit om nou in die oë van jou eie kind te kyk? Is die lewe vir hom anders, dink jy, as toe jy klein was, sy ouderdom was?
c, b en a. Baie anniste. Innie eēste plek is my Komvandaān nie inne straight lyn: Protea Village in Kirstenbosch (skyns oōkan die botanical gardens), bos-wēril, Mother- en Fatherless, en ek wassie gi-conscientize omtrenne Moeddirtaāl, activism en boekke nie. Ek was te vēel rōngiskyf van Pontius nā Pilates (eēn boy’s home narrie anne). Ek het wèlle natural interest innit en in klangk; Aloe het oek, but sy sense of place en taāl is rural-township, moettie lekke brei vannie area in sy Goema. Aloe se lyste-ability is bai fynnirre as mynne though; groōt binne-oōr.
Omtren ammal my peers het A purpose-driven life gilīes al. Ek hettie. Human nature, innie tydt van my shaping, was inne certain condition, moette certain hypocrisy en double-standard, moet elkeēn sy concomitant rhetoric, virre purpose wat vaddag diesèlle bigginne lyk. Die visskil however is, die RSA isse constitutional democracy. Siekkilik moet dai mos iets mean in terms van equitable sharing, but it doennie. Ek en nog millions is nou moeg vanne equality wat soe boneless is soesse amoeba watte stroke weg het. Wat nooit op sy eie regop sal kan sit, shame. En warrit ampe seal, is twīe dinge:
dié bigot, gloe oek innie sèlle got, soessie previous governing misoes
die alarming news wat rōngigooi wōdt, dat RSA allegedly gi-register is oppie Securities en Exchange Commission (SEC) asse company innie USA CIK #0000932419. ’n Scam? Die web is vōl vannit. Som sē, is soe, som sē, naai, some deny flat-out: “Wat ’n pot snot?!”
Aloe groei moe die op as part van sy milieu, but sōnne-rie hypocrisy en double-standard, en mette ma en pa wat hom koester.
6.
a. Ek lees baie van jou plek van herkoms, geboorte, oorsprong – die Womb, sien ek. Dis deel van die Moerstaal. Praat met my oor jou komvandaan, Loit, en hoe dit in jou gedigte en skryf-stils neerslag vind.
b. (Vertel ook oor die woord skryf-stil...)
a. Al is my Komvandaan – my Strandlopergytte, my “Other-Coloured” en “homey” growing-up experience, binne innie “Coloured” eēnne, nā allie “homes” – hoe delayed, acculturated, assimilated en misfit, issit virrie afgiloeppe 22 jaā mynne; ek is in control vannit. But truth be told reluctantly, virre te lang tydt, was ekkie.
Ek observe, sōnne regret, dat during apartheid my heēlle being en coexistence inne forced co-ownership moerrie punitive apartheid system was, asse “Coloured” en “Other-Coloured”: about 20 jaā-plus se potential holistic development en shaping van my life gichop soes limbs. Apartheid, die limb-afchopper. “The years that the locusts has eaten,” kom oek op. Gillikkag het skryf en music my gisave van sy worst. Still, ek, ’n fulltime writer, het gidebut op 41 moet My straat. 20 sal my soesse glove gipassit. Die slyt an by “gedigte en skryf-stils neerslag vind,” wan most vannie above ko meēssal ironic-humouristic yt; sikke satirical “sho’t-lefts”, right there in the funny-bone. Apartheid is now no longer, the old crone, as back in the day, toe ōs hom gikoggillit as laities: “Ooh godt daā kommie jirre.” Sometimes kommit baie rhymey yt, but oek stream-of-conscious, wat creative writing courses oek allow/indulge.
b. Ek het gi-realize ek hettie ability om, soes anne writers, ’n unfolding situation totte standstill te bring; op pause te sit soesse video; en dan trig te sit en dai moment te capture at my leisure, om allis more or less yt te plys, wat daā in dai nano-second gibeē. Refinement gibeē agtinā, merrie vocab en stock-phrases at my disposal onne my bladt, along moet niewwis, of visiting en/of just passing-through phrases: “Ek was innie neighbourhood.”
7.
a. Die eerste mense, die mense wat die oorsprong is van alles hierso, maar wat steeds ingespan word as “Dina die bediende”... Wil jy hieroor iets sê?
Ek kry die in Emergence Magazine net giste-oggin:
"Deepening our relationship to a place can sometimes be painful, especially in landscapes that have witnessed human brutality and violence. But engaging the earth in this way can open spaces of receptivity, where reclamation and healing become possible."
Baie, baiere, baieste, but, even soes ek dingk isse anne dag se question, sal ek jou iets gie, but onhou net, is meē vanne summary neh? Die space is much te min hīe virre complete release van wat ek graāg wil sē. Even Die Braak in Stèllies is te klyn:
Ōs issie equal-ie, en gannie equal wies virre lang tydt-ie.
Ōs moennie ōssèlf fool-ie, wan, soes baie van ōs proactively engage met mikaā, is daā clearly nog soe bai onne ōs, wattie net, nog altydt in colours, en onnirrie influence van head-starts en kick-starts en nest-egg investments praāt-ie, but nog-ie ill-gained, fast-tracked apathydt (en nou-rie neo-apathydt) advantages hoard, na ampe dētag jaā.
Hīe waā ōs nou vikeē as creatives, isse neutral space waā ōs ka mix en moult, gibryk ōs-ie appropriate taāl, body-language, manners, looks, klangkies, signs en gestures, etc. Byrrie hys, weg van prying oë, is ōs weē unequal. Equal is nog altydt ma net “talking the talk”, whereas equity is “walking the talk”. En hoerre hèl kan os ooit equity kry moette governing party wattie net rogue ytgidrai-rit, but complete gangster?
8.
a. Is skryf vir jou ’n soort katarsis, ’n heelword, of is dit nie wat dit is nie?
b. Hoe voel dit noudat die bundel daar is?
a. Ja, baie healing op multi-levels, en in tandem moet krye, nog meē effective en biddyddindt. Ekkis nou oek biessag moette niewwe kitaā (kitaār, kitār) arrangement (ynlyk vi baie kitaārre) merrie naam “Kitarsis”, gibōre yt “catharsis”, moette drone vanne regte Bushman Bow assie golden thread van klangk deērrie move.
b. Nou’t ek immediately meē tydt vi my nongkil-tongkil, Aloe, wat siekke my grootste muse is, gifollow deē my Writing Ancestors. Soe nou moet ek eēs focus, wan ekkis mos nou die proverbial “leë emty” wat nou supposedly “hang”... Spent. Forgerrit… dai goedt apply nie toe dié somebody nie; ekkit te veēl goedt wat my purposefully creative engage, nie net biessag hou. Mēnse innie communities hīe consult my oek vi, en about, krye.
9.
a. Wat is jou beste tyd om
b. ’n gedig te skryf en hoekom?
a. My muse issie tydt-, situation-, mēnse-, of plek-bound, but ek prefer skryf nā ek krye gidown-it en gi-chant-it. Ek raāk oek wakke (in dozing off deērrie dag, en yt my slaāp snags) moet complete writs en songs en record-it gou op my phone sing-sing.
b. Dangkie dat djy soe dingk, buttis is too high to come by vi my Naomi: ek skryffie gedigte, wel skryfstills.
10.
a. Hoekom skryf jy?
b. Hoekom sing jy?
c. Hoekom skep jy?
Ek skeppie, haai... Qualified mēnse doen soes my vrou of Gilbert (die sjef by Paulethuis - redakteursnota).
a. Ek skryf:
omlat ekke quite useless is sōnne-rit,
om outrage an te tiekkin, vi specially die opinions wat gi-vorrim is innie rhetorical
speeches vannie gaslighting-project, moet sy voette firmly giplant innie air,
omlarrit-ie naāldt is wādeē al my artistic experiences gitrēk wodt; die nerve-centre, die
Motherload en meeting-point, waā allie ley-lines van my creative pursuits mīet, over-arch en integrate,
om poetry accessible te maāk, straāt toe te bring, yttie ivories yt — af onnitoe,
om anne writers te mīet, ideas yt te ryl,
vi personal holistic balance, in my life, my lief, my deēnis, my mental-wanderings, my
pyn en my activism: Moeddirtaālonnirrig en -gilettirdthydt, even soes ek biessag is moette bevy van projects wat Moeddirtaāl promote en visible maāk — en hou.
omme niewwe flavoured rooibos mīe te sample,
omme witness te wies vi my Ancients, my Lovelies, my Ancestors en Kurus, my hoegste
concepts van wie ek is,
omla ek experience writing asse tydt wanne positive epiphanies ytstiek; wanne my
Ancestors en Serendipity baie visit,
om ouirre mēnse, wie bang is om “vikeedt” te spèl, te kry om te skryf, nevermine die
spèllieng mistakes, ennit nie te sien asse affliction, butte stepping-stone. Wat isse mistake tog butte take wat gimissit? Die hēle world-wide movie industry is gi-base oppit,
omme bier offe, not so-plonky, rooietsie te kan afford… of nette koppie regte koffie,
om iets te los virrie laities nou, en vannie future.
b en c. Die goedte wat ek doen bihoōt annie community waā ek ytkom; die society waā-in ek gi-shape was, enne certain thinking-rigting in gislarrit, moet niks head-starts of kick-starts, en min tot niks resources, bihalwe dies yt nature, nurture en divine, ennie human condition, wat ek min van wiet, ma part is van, en, vinne ek toe mos laāttirre yt; nooit, nië part is van.
Om allis te wrap, laāstins, skrywwe, sing en create ekke soelat history, en specially die eēnne van Indigenous Moerstaāl, Gowaba, angitiekkin en girecord kan hoōdt, soes gisien deē, 1: die conscious lens en sensibilities vanne long-standing denizen vannie underclass (Other-coloured) vannie “Coloured” Cape Peninsula, en, 2: die filter vanne modern-day, 21st-century, conscious Aboriginal South African, moet Goema, die taāl waāmiē ek identify, en hoō, van yrrie womb, in al twīe dai milieus, along moet dai wat randomly overlap, insyppil deērrie cracks en appear deērrie slips, en freely infuse.
Liewe Loit, dit het sommer vir my gevoel of ek direk met jou praat toe ek die vrae stuur. Dit sal lekker wees as jy dit kan antwoord – in Goema natuurlik. Dit was so spesiaal om tyd saam met jou in die huis te spandeer. Ek hoop ek sien jou by die Woordfees!
Lekke!
In Goema of course…
Djy, ek, ammal wiet, dai maāndt se mīeting wassie net tèlling, but oek compèlling. Kan djy dai eēste emails onhou voōrrie residency ingikick-it proper, hoe hille skiellik animated giraākkit toe os mikaā ynlik mīet, met, en na ōs contact daā innie east?
Ek’sie 10e Oktober byrrie Woordfees; net dai dag enne oōnag.
Dankie vir jou moeite.
Watse moeitte Naomi, is doen soe lekke normal. En om moet jou te deal, en jou ynlikke wēk te sien, is ’n cut above engaging, gloe my. Siekke om ekkie baie clear impression gikry-rit by Paulet-Hys, dat djy iets Irish saamme jou gibring-it. Iets inviting, involving en endearing, en oeppe, en ja… Funny.
Kai gangans, as ek dit mag sê!
Is dan jounne oek sērie dna; own it my tsommie.
In Closing
Ek reiterate, dai main rīedde hoeko ek in Goema skryf, is om vi (specially ouirre) mēnse, wie bang is om “vikeēdt” te spèl, te kry om te skryf, nevermine die spèllieng mistakes, ennit nie te sien asse affliction – waā-yt some forrim van punitive crit gan spring soesse traffic cop van agte ytte bossie – butte stepping-stone. Wat isse mistake tog butte take wat gimissit? Die heēlle world-wide movie industry is gi-base oppit my gits. Imagine 2 lighters, eēn het niks gas, nette flint. Die anne eēn het net gas. Dai is ekke en ieman wat imagine hille spèllie reggie of goedtie. Ōs het altwīe iets om vi mikaā te gun, nie net te gie. Ek put 100% ginot daā-yt om soe moet mēnse te engage en te vikeē.
Lekke djy!
Klik hier om vanjaar se volledige boekeprogram by die Toyota US Woordfees af te laai.
Lees ook:
Toyota US Woordfees 2022 is "Wild": ’n onderhoud met Saartjie Botha