In twelve pages this paper analyzes this text in a discussion of theme, culture, superstition, and belief as opposed to nonbelief. One source is cited in the bibliography.
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legend with modern twists seem to affect readers generation after generation regardless of national boundary, race, or creed. This is the hallmark of a true artist, then. Particularly in his
story, The Prophetess, he uses many literary devices to great skill. The story, briefly is about a young boy as he moves from innocent acceptance toward a more sobering and
mature outlook on his life and its future in South Africa. As his mother is ill the boy watches as the healing woman, The Prophetess, tends to his mother. He
watches in awe, at first, to her rituals and ministering. Later, there is a shift in perspective which moves him from the easy acceptance of superstition and its power over
the human mind, toward the far end of unbelief and a distancing from his own culture. What makes most of Ndebeles stories universal is that despite the locale, the
problems which the young child experiences hold true for a child in any land. There are numerous stories, past and present, where the main protagonist is a very young vulnerable
child who is ill-treated and rejected by a town, community or village. A great comparison is Charles Dickenss Oliver Twist. It can be stated that part of what makes
a good character is that they are three dimensional. They are that curious blend of good and evil, saint and sinner, and have the unmitigated ability to contradict themselves in
a type of self deception that sometimes reveals more about their character than mindless conformity to social situations would. SUPERSTITION Think that superstitions went out with Knights on white horses
and outside latrines? Think again. Superstitions are as alive and well today as they have been since Adam and Eve wandered the lovely garden. Still today there are people who