Nos matamos o cao tinhoso pdf download. This reading addresses Honwana’s critique of colonialism’s systematic emasculation of the black man. Identifying the performative regulation of a co-existing plurality of masculinities, the article argues that Honwana’s depictions of humiliation.

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We Killed Mangy Dog and Other Mozambique Stories (Nós Matámos o Cão-Tinhoso) is a 1960s collection of short stories by Mozambican writer Luís Bernardo Honwana. It is a classic of African literature,^[1] appearing on the Zimbabwe International Book Fair list '100 Best African Books of the Twentieth Century' of 2002.^[2]

The book consists of seven stories, including one with the same title as the book: 'Nós Matámos o Cão-Tinhoso' [We Killed Mangy Dog], 'Papa, Cobra, Eu' [Dad, Snake, and Me], 'As Mãos dos Pretos' [The Hands of Blacks], 'Inventário de Móveis e Jacentes' [Inventory of Furniture and Effects], 'A Velhota' [The Old Woman], 'Nhinguitimo,' and 'Dina' [Lunchtime].

Publication History[edit]

The book was originally published in Portuguese in 1964 and translated into English in 1969. The writer, who is also a documentary filmmaker and photographer, wrote the novel when he was 22 years old, while a political prisoner of PIDE.^[3]

The famous Portuguese-Mozambican architect Pancho Guedes organized the publication of the Mozambique first edition, and commissioned the cover by Mozambican artist Bertina Lopes.^[4] The English translation was made not long after by Guedes' British wife, Dorothy Guedes. The cover and inside illustration of the English edition was made by Pedro Guedes, their teenage son.^[5][6]

It was first published in Africa and was quickly banned by the Portuguese authorities.^[7] It was a long time before the book was published in Portugal:

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• Original edition: Nós Matámos o Cão Tinhoso (Lourenço Marques: Publicações Sociedade de Imprensa de Moçambique, 1964), 135p. Illustrations by Bertina Lopes (1926-2012).^[8]
• English edition: We Killed Mangy Dog and Other Mozambican Stories (Heinemann African Writers Series, No. 60), trans. by Dorothy Guedes. 117p. Illustrations by Pedro Guedes.
• Portuguese edition, with revisions. Nós Matámos o Cão Tinhoso: contos moçambicanos (Porto: Afrontamento, 1972), 147p.^[8]
• 2nd Mozambican edition: Nós Matámos o Cão Tinhoso (Lourenço Marques: Académica, 1975), 124p. (Colecção «Som e Sentido»; no.7)^[8]
• New edition, labelled 2nd ed., revised by the author: Nós Matámos o Cão Tinhoso (Maputo: INLD, 1978), 109p.^[8]
• Brazilian edition: Nós Matámos o Cão Tinhoso (São Paulo: Ática, 1980), 96p. (Coleção «Autores Africanos»; no.4)^[8]
• New edition, labelled 3rd ed.: Nós Matámos o Cão Tinhoso (Maputo: INLD, 1984), 109p.^[8]
• Another Portuguese edition: Nós Matámos o Cão Tinhoso (Porto: Afrontamento, 1988), 144 p.^[8]

Reception[edit]

This book has been called 'é um marco da literatura moçambicana' (a landmark of Mozambican literature).^[9] The book 'exercised a massive influence on the subsequent generation of Mozambican prose writers.'^[10]

When it was published, 'a obra foi alvo de polêmica, sendo criticada por parte daqueles que defendiam o colonialismo e simpatizavam com o regime do ditador português António de Oliveira Salazar, e aclamada por aqueles que, portadores de ideias nacionalistas, defendiam a liberdade e a autonomia do país' (the work was the subject of controversy, being criticized by those who defended colonialism and sympathized with the regime of Portuguese dictator António de Oliveira Salazar, and acclaimed by those who, with nationalist ideas, defended the country's freedom and autonomy).^[11] Indeed, it 'provoked a storm of outrage among right-wing Portuguese settlers.'^[10] Honwana was arrested not long after its publication by the colonial authorities. But others 'praised him for having captured demotic Mozambican patterns of speech.'^[10][1] The original texts of this early debate about the book are available.[2] Abudo Machude published a book in Portuguese about the critical reception of Honwana's book.^[12]

Nós Matámos o Cão Tinhoso has been translated into English, French, German and Russian, and has been produced in the theatre.^[10]

Nós Matámos o Cão Tinhoso won first place in the international literary contest of The Classic magazine in South Africa in 1965.^[13]

Collection's Themes and symbols[edit]

The Mozambican world is at the center of analysis in each of his narratives.^[14] Several of the stories are told from the point of view of children. The innocent and naïve characters are used to expose 'the inherent racism in the Portuguese colonial government.'^[15] Honwana's stories were written for a greater purpose than entertainment and amusement. They 'raise questions about social exploration, racial segregation, and class and education distinctions.'^[16] Each character in every story represents a different social position (white Portuguese man, the assimilated black, the indigenous black, and mixed race). In Lusophone Studies 2, a volume in a series published by University of Bristol, Mark Sabine analyzes the aspects of gender, race, and violence found in Honwana's short stories.^[17] According to Sabine, 'Focusing almost exclusively on male protagonists and their humiliation and disenfranchisement, Honwana depicts colonial rule as the literal emasculation of Africa' (24). In the stories, the institutional denial of equal human rights to colonized Mozambicans is apparent and linked to the betrayal of an implicit promise based on shared masculine identity: 'Men classified as assimilados or civilizados, who have assumed a Portuguese cultural identity on the promise of equal civil rights, might expect equal access to the patriarchal dividend' (29).

Short Story 'Mangy Dog' Plot, Themes, and Symbols[edit]

This last and longest story in the volume is narrated by Ginho, who is marginalized and alienated by his peers in school and out of school. The story centers around Mangy-Dog (Cão-Tinhoso), a stray that is diseased, helpless, and dying. The narrator feels compassion and sympathy for the dog for these reasons but also because the dog is an outcast among other dogs and because a girl, Isauro, loves the dog. One day, the narrator and the group of boys from his class are asked to kill the dog by the vetinarian. He presents the act as a kind of hunting game and appeals to them as a group of friends. Ginho is the only one who says that he doesn't want to kill the dog, but the other boys, in part due to their own reluctance, force him to shoot at the dog first. Although Ginho misses the dog, his friends go on to shoot and kill the dog. As one critic said, 'La simplicité du style - adapté au point de vue d'un enfant - se combine à la richesse de différents niveaux d'interprétation' (the simplicity of the style - adapted to a child's point of view - combines with the richness of different levels of interpretation).^[18]

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Race and Gender in Mangy Dog[edit]

The boys in the narrative all have different racial backgrounds: Ginho is a young, black, assimilado boy; Quim is the white leader of the gang; Faruk is an Arab; Gulamo is Indian; and Xangai is Chinese. Ginho is the victim of both racial and gendered discrimination when in the novel Quim and Gulamo call him 'maricas' (sissy) and 'Preto de merda' (you black shit) for not being able to kill Mangy Dog. In addition to being insulted with a racial epithet, he is emasculated by the other boys.

As Sabine notes, 'Honwana's women are most often not protagonists capable of acting and learning, but a social resource under the control of men' (42).^[17] There are three women in the story of Mangy Dog: Ginho's mother, his teacher, and his classmate Isaura. Ginho's mother attempts to discipline him but her protests are futile as he leaves the house with his father's rifle. Isaura attempts to stop the killing, but is yelled at by the boys' leader Quim and told to leave. Her values of compassion and pacifism are considered 'feminine' by the boys and the colonial patriarchy they serve (Sabine 43).^[17]

Symbolism of Mangy Dog[edit]

According to Pires Laranjeira, citing an interpretation (by Inocência Mata), Mangy Dog represents a decadent colonial system that is in need of being destroyed in order to make way for a new pure society, free of discrimination and racism. Mata points out that Mangy Dog is shot to death with firearms, the same way that Mozambique gained its independence through the use of military force.^[16] This is why the Mangy Dog is represented as having blue eyes. But, according to Niyi Afolabi, the mangy dog's blue eyes can simultaneously point to the black colonial subject and the European colonizer.^[19] Cláudia Pazos Alonso adds to that interpretation by stating that the blue eyes of the dog could symbolize a black assimilado.^[20]

Masculinity in Mangy Dog[edit]

The short story has been seen as an early critique of toxic masculinity. The murder of Mangy Dog is a process of initiation into manhood in which Ginho and the others, who prize 'physical prowess, power, and aggression,' go through an initiation rite, or a kind of apprenticeship, in order to find affective solidarity.^[16] The critic Sabine describes the act of killing Mangy Dog as a 'painful initiation into a grown-up social order' (24). As such, 'the killing constitutes a grotesque substitute for the elaborate rites marking a boy's passage to manhood in indigenous cultures' (34). Because 'Ginho lacked a role model who stresses the ideals of courage, leadership, compassion, and the dedication of physical strength,' as a result, 'The aggressive effacement of the figure of the black patriarch not only necessitates the valorization of violence as 'manly', but also marginalizes the values which Honwana ascribes to an indigenous paradigm of masculinity: bravery, endurance, dignity and deference to elders' (25).

References[edit]

1. ^Honwana, Luís Bernardo (2006). Nous avons tué le chien teigneux (in French). Editions Chandeigne. ISBN978-2-915540-24-6.
2. ^'Africa's 100 Best Books of the 20th Century | Columbia University Libraries'. library.columbia.edu. Retrieved 2020-10-06.
3. ^Chabal, Patrick, et al. The Post-Colonial Literature of Lusophone Africa. London: Hurst & Company, 1996.
4. ^'Ulli Beier, Frank McEwen, Pancho Guedes and Julian Beinart'. Alexandre Pomar. Retrieved 2020-10-06.
5. ^'Ulli Beier, Frank McEwen, Pancho Guedes and Julian Beinart'. Alexandre Pomar. Retrieved 2020-10-06.
6. ^Currey, James (2008). Africa Writes Back: The African Writers Series & the Launch of African Literature. James Currey. ISBN978-1-84701-503-7.
7. ^Classe, O.; AC02468681, Anonymus (2000). Encyclopedia of Literary Translation Into English: A-L. Taylor & Francis. ISBN978-1-884964-36-7.
8. ^ ^abcdefg'Mozambique History Net: Luís Bernardo Honwana'. www.mozambiquehistory.net. 2012. Retrieved 2020-10-06.
9. ^'lopez – Kapulana' (in Portuguese). Retrieved 2020-10-06.
10. ^ ^abcd'Mozambique History Net: Luís Bernardo Honwana'. www.mozambiquehistory.net. 2012. Retrieved 2020-10-06.
11. ^'lopez – Kapulana' (in Portuguese). Retrieved 2020-10-06.
12. ^MACHUDE, Abudo. A recepção crítica de Nós Matámos o Cão-Tinhoso. Maputo, Moçambique: Alcance Editores, 2014.
13. ^'LUÍS BERNARDO HONWANA – Kapulana' (in Portuguese). Retrieved 2020-10-06.
14. ^Ferreira, Manuel. Literaturas Africanas de Expressão Portuguesa. Lisboa: Ministério da Educação e Cultura, 1986.
15. ^Africa's 100 Best Books of the 20th Century.
16. ^ ^abcLaranjeira, Pires. Literaturas Africanas de Expressão Portuguesa. Lisbon: Universidade Aberta, 1995.
17. ^ ^abcSabine, Mark. 'Gender, Race, and Violence in Luís Bernardo Honwana's Nós Matámos o Cão-Tinhoso: The Emasculation of the African Patriarch'. Lusophone Studies 2 (2004): 23-44.
18. ^Honwana, Luís Bernardo (2006). Nous avons tué le chien teigneux (in French). Editions Chandeigne. ISBN978-2-915540-24-6.
19. ^Afolabi, Niyi, The Golden Cage: Regeneration in Lusophone African Literature and Culture. Trenton, NJ: Africa World Press, 2001.
20. ^Alonso, Cláudia Pazos. 'The Wind of Change in Nós Matámos o Cão-Tinhoso'. ellipsis 5 (2007).

Luís Bernardo Honwana was born in 1942 in Lourenço Marques (actually Maputo), Mozambique. He studied law in Portugal. Back in 1964 he became a militant to liberate Mozambique from Portuguese colonial rule. He was incarcerated for three years.
In 1975 he was appointed director of President’s office. Later in 1981, he became Secretary of State for culture. He served on the Executive Board of UNESCO from 1987 to 1991.
Honwana is the author of a single book, ‘Nós Matámos o Cão-Tinhoso’ (1964), ‘We Killed Mangy Dog and Other Stories’ in English. A historical narrative facing the memory retracted by the colonizers.
And the tale ‘Hands of the Blacks‘ [‘As mãos dos pretos‘] is published in a collection of short stories ‘Contos Africanos dos países de língua portuguesa‘ set in the Portugese colonial era at the turn of the ’60.

***

[publisher in RN 05 in June 1992, original text in portuguese.]

I don’t remember now how we got onto the subject, but one day Teacher said that the palms of the black’s hands were much lighter than the rest of their bodies because only a few centuries ago they walked around on all fours, like wild animals, so their palms weren’t exposed to the sun, which made the rest of their bodies darker and darker. I thought of this when Father Christiano told us after catechism that we were absolutely hopeless, and that even the black were better than us, and he went back to this thing about their hands being lighter, and said it was like that because they always went about with their hands folded together, praying in secret.

I thought this was so funny, this thing of the black’s hands being lighter, that you should just see me now – I don’t let go of anyone, whoever they are, until they tell me why they think that the palms of the black’s hands are lighter. Dona Dores, for instance, told me that God made their hands lighter like that so they wouldn’t dirty the food they made for their masters, or anything else they were ordered to do that to that to be kept quite clean.

Senhor Antunes, the Coca Cola man, who only comes to the village now and again when all the Cokes in the cantinas have been sold, said to me that everything I had been told was a lot of baloney. Of course I don’t know if it was really, but he assured me it was; After I said yes, all right, it was baloney, then he told me what he knew about this thing of the black’s hands.

It was like this : – ”Long ago, many years ago, God, Our Lord Jesus Christ, the Virgin Mary, St. Peter, many other saints, all the people who had died and gone to Heaven – they all had a meeting and decided to make blacks. Do you know how ? They got hold of some clay and pressed it into some second-hand mould. And to bake the clay of the creatures they took them to the Heavenly kilns. Because they were in a hurry and there was no room next to the fire, they hung them in the chimneys. Smoke, smoke, smoke – and there you have them, black as coals. And now do you want to know why their hands stayed white ? Well, didn’t they have to hold on while their clay baked ?

When he had told me this Senhor Antunes and the other men who were around us were very pleased and they all burst out laughing.

That very same day senhor Frias called me after Senhor Antunes had gone away, and told me that every-thing I had heard from them there had been just one big pack of lies. Really and truly, what he knew about the black’s hands was right – that God finished making men and told them to bathe in a lake in Heaven. After bathing the people were nice and white. The blacks, well, they were made very early in the morning, and at this hour the water in the lake was very cold, so they only wet the palms of their hands and the soles of their feet before dressing and coming into the world.

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But I read in a book that happened to mention it, to mention it, that the blacks have hands lighter like this because they spent their lives bent over, gathering the white cotton of Virginia and I don’t know where else. Of course Dona Estefania didn’t agree when I told her this. According to her its only because their hands became bleached with all that washing. Well, I don’t know what to think about all this, but the truth is that however calloused and craked they may be, a black’s hands are always lighter than all the rest of him. And that’s that !

My mother is the only who must be right about this question of a black’ s hands being lighter than the rest of his body. On the day that we were talking about it, us tow, I was telling her what I already knew about the question, and she just couldn’t stop laughing. What I thought was strange was that she didn’ttell me at once what she thought about all this, and she only answered me when she was sure that I wouldn’t get tired of bothering her about it. And even then she was crying and clutching herself around the stomach like someone who had laughed so much that it was quite unbearable. What she said was more or less this :

“God made blacks because they had to be. They had to be, my son. He thought they really had to be…. Afterwards he regretted having made them because the other men laughed at them and took them off their homes and put them to serve like slaves or not much better. But because he couldn’t make them all be white, for those who were used to seeing them black would complain, He made it so that the palms of their hands would be exactly like the palms of their hands of the other men. And do you know why that was ? Of course you don’t know, and it’s not surprising, because many, many people don’t know. Well, listen : it was to show that what men do is only the work of men…

That what men do is done by hands that are the same – hands of people who, if they had any sense, would know that before everything else they are men. He must have been thinking of this when He made the hands of the blacks be the same as the hands of those men who thank God they are not black !”

After telling me all this, my mother kissed my hands.

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As I ran off into the yard to play ball, I thought that I had never seen a person cry os much when nobody had hit them.

Luís Bernardo Honwana

The tale ‘Hands of the Blacks’ [‘As mãos dos pretos‘] is published in a collection of short stories ‘Contos Africanos dos países de língua portuguesa‘

***