K. Mogapi, Tsheka-lsheko Ya Dikwalo: Padi,
Longman Botswana, Gaborone, 1982, pp.143, P4.50
M:>gapi's latest mok is an inportant additionandasignificant               contriWtior,
to the study and developnent of Tswana literature',            especially in the areas
of the oovel,drama and soort story.            A fair numberof oovels, plays and
soort stories have been published in Setswana rot until the appearance of
Tsheka-tsheko Ya Dikwalo, Setswana had oothing written on literary theory
and criticism.
'!he bJok is written in Setswana \.\hich will ensure that it enjoys wide
readership by the speakers of the language. It is the first time that
seco~       scmols and first year Universi t¥ students studying Setswana have
a literature      textbook available for teaching and studying by direct metOOd.
This is particularly       crucial at secondary scOOol level \.\here teaching of
Tswana literature       is done through the rrediumof the hane language. '!he
uniqueness of this bJok consists in the level of the audience it addresses,
the medium of conmmication and the conprehensiveness of the scope of its
coverage of the various genres of Tswana literature.
The first    part briefly reviews the develO(Xllentof the Tswanaoovel. In
this part    the develO(Xllentof the oovel is perceived in three stages
according    to thenatic content.      The stages are as follows: oovels depicting
traditional     life; those portraying a clash between nodern and traditional
life; and    finally those that are confined to the portrayill or urban life.
This survey and classification        is however limited by the fact that it
bases itself only on the popular content of the rovel, rot this the author
made 00 reference to. WitOOutconsideration of this aspect of the develop-
ment of the oovel, it Ci:J1OOt     be correctly said that the statement of the
author reflects the develcpnental picture adequately.
The second part of the bJok is a sinple rot clear treatment of the follow-
ing aspects: direction and style, characters and characterisation,               t:l1E!m:!,
plot, setting, conflict,       plausibility,     and climax. But again insufficient
attention is given to questions of eJlI?Osi         lion and points of view ~ich
should also form essential elements of such analysis.              The treatment of
setting is rather controversial         for the author merely adapts it to his
thenatically      biased review of oovel develO(Xllent.
M:>gapi's treatment of plot is fresh and ccmnendable. It goes beyond that
of Forster's      in his classic Aspects of the ~vel1 ~ich accounts f<?rplot in
terms of action only. Plot as reflected in foDgapi's text, has action,
thought and character as its integral parts.             This makes it possible to
state adequately \.\hat any plot is.         Plot is seen as a synthesis of the,
three elements. foDgapigoes further to daronstrate that plots will differ
in structure according to row one of the three ingredients is used as a
daninant or synthesising principle.            He therefore details plots of action,
plots of tOOught and plots of character.             For exatple, in a plot of actiOn
the synthesising principle is a conpleted change in the situation of a
protagonist detennined and effected by character and tb::lught. He illustra-
tes this by the plot of MJnyaise's Cb Sa Baori.
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In the third part, the novels Mat.!heaolp by Mwilena and Qrphile Unphi
~ise     by l'bnyaise are analysed to illustrate  the operation of t:11'ePrin-
ciples outlined in the second part.      This is follO\;~ by exercises for
practice.
The last part of the l:ook consists of a list of the literary    terms whid1
have been used in the text and their English translationli.     This should be
particularly    useful for readers in Botswana and other parts of the
Setswana speaking countries.
1.    E.M. Foster,   Aspects of the Novel, Edward Arnold, London
J. MJIIJolA
Department of African Languages    & Literature
University of Botswana
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