The Power of One (Turtleback School & Library Binding Edition)
544
The Power of One (Turtleback School & Library Binding Edition)
544Hardcover(Library Binding - THIS EDITION IS INTENDED FOR USE IN SCHOOLS AND LIBRARIES ONLY)
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Overview
A young boy becomes an inspiring symbol for black and white as he experiences an odyssey through pro-Nazi South Africa during World War II.
Product Details
| ISBN-13: | 9780833554253 |
|---|---|
| Publisher: | Perfection Learning Corporation |
| Publication date: | 04/04/2019 |
| Edition description: | THIS EDITION IS INTENDED FOR USE IN SCHOOLS AND LIBRARIES ONLY |
| Pages: | 544 |
| Sales rank: | 750,457 |
| Product dimensions: | 5.80(w) x 8.10(h) x 1.40(d) |
About the Author
Bryce Courtenay was born in South Africa, is an Australian, and has
lived in Sydney for the major part of his life. Visit him on the web at www.brycecourtenay.com.
Read an Excerpt
The Power of One
By Bryce Courtenay
Laurel Leaf
Copyright © 2007 Bryce CourtenayAll right reserved.
ISBN: 9780440239130
one
1939: Northern Transvaal, South Africa
This is what happened.
My Zulu nanny was a person made for laughter, warmth and softness and before my life started properly she would clasp me to her breasts and stroke my golden curls with a hand so large it seemed to contain my whole head. My hurts were soothed with a song about a brave young warrior hunting a lion and a women's song about doing the washing down on the rock beside the river where, at sunset, the baboons would come out of the hills to drink.
My life proper started at the age of five when my mother had her nervous breakdown. I was torn from my black nanny with her big white smile and taken from my grandfather's farm and sent to boarding school.
Then began a time of yellow wedges of pumpkin burned black and bitter at the edges; mashed potato with glassy lumps; meat aproned with gristle in gray gravy; diced carrots; warm, wet, flatulent cabbage; beds that wet themselves in the morning; and an entirely new sensation called loneliness.
I was the youngest child in the school by two years and spoke only English while the other children spoke Afrikaans, the language of the Boers, which was the name for the Dutch settlers in South Africa. They called the English settlers Rooinecks, which means "Redneck," because in the Boer War, which had happened forty years before between the English and the Dutch settlers, the pale-skinnedEnglish troopers got very sunburned and their necks turned bright red.
The English won this war, but it was a terrible struggle and it created a hatred for them by the Boers, which was carried over into the generations that followed. So, here I was, someone who only spoke the language of the people they hated most of all in the world. I was the first Rooineck the Afrikaner kids had ever seen and, I'm telling you, I was in a lot of trouble.
On the first night of boarding school, I was taken by two eleven-year-olds to the seniors' dormitory, to stand trial. I stood there shaking like billy-o and gibbering, unable to understand the language of the twelve-year-old judge, or the reason for the hilarity when the sentence was pronounced. But I guessed the worst. I had been caught deep behind enemy lines and even a five-year-old knows this means the death sentence.
I wasn't quite sure what death was. I knew it was something that happened on the farm in the slaughterhouse to pigs and goats and an occasional heifer and I'd seen it happen often enough to chickens. The squeal from the pigs was so awful that I knew it wasn't much of an experience, even for pigs.
And I knew something else for sure; death wasn't as good as life. Now death was about to happen to me before I could really get the hang of life. Trying hard to hold back my tears, I was dragged off to the shower room. I had never been in a shower room before; it resembled the slaughterhouse on my grandfather's farm and I guessed this was where my death would take place. I was told to remove my pajamas and to kneel inside the recess facing the wall. I looked down into the hole in the floor where all the blood would drain away. I closed my eyes and said a silent, sobbing prayer. My prayer wasn't to God but to my nanny. I felt a sudden splash on my neck and then warm blood trickled over my trembling body. Funny, I didn't feel dead. But who knows what dead feels like?
When the Judge and his council of war had all pissed on me, they left. After a while it got very quiet, just a drip, drip from someplace overhead. I didn't know how to turn the shower on and so had no way of washing myself. At the farm I had always been bathed by my nanny in a tin tub in front of the kitchen stove. She'd soap me all over and Dee and Dum, the two kitchen maids who were twins, would giggle behind their hands when she soaped my little acorn. This was how I knew it was a special part of me. Just how special I was soon to find out. I tried to dry myself with my pajamas. My hands were shaking a lot. I wandered around that big dark place until I found the small kids' dormitory. There I crept under my blanket and came to the end of my first day in life.
I awoke next morning to find the other kids surrounding my bed and holding their noses. I'm telling you, I have to admit it myself, I smelt worse than a kaffir toilet, worse than the pigs at home. The kids scattered as a very large person with a smudge of dark hair above her lip entered. It was the same lady who had left me in the dormitory the night before. "Good morning, Mevrou!" they chorused in Afrikaans, each standing stiffly to attention at the foot of his bed.
The huge woman tore back my blanket and sniffed. "Why, you wet your bed, boy! Sis, man, you stink!" she bellowed. Then, without waiting for my answer, which, of course, I didn't have, she grabbed me by the ear and led me back to the place where they'd pissed on me the night before. Making me take off my pajamas, she pushed me into a recess. I thought desperately, She's even bigger than Nanny. If she pisses on me I will surely drown. There was a sudden hissing sound and needles of icy water drilled into me. I had my eyes tightly shut but the hail of water was remorseless.
If you don't know what a shower is, and have never had one before, then it's not so hard to believe that maybe this is death. A thousand sharp pricks drilled into my skin. How can so much piss possibly come out of one person, I thought. Funny, it should be warm, but this was icy cold, but then I was no expert on these things.
Then the fierce hissing and the icy deluge stopped suddenly. I opened my eyes to find no Mevrou. The Judge stood before me, his pajama sleeve rolled up, his arm wet where he'd reached to turn off the shower. Behind him stood the jury and all the small kids from my dormitory.
The jury formed a ring around me. My teeth were chattering out of control. The Judge pointed to my tiny acorn. "Why you piss your bed, Rooinek?" he asked.
"Hey, look, there is no hat on his snake!" someone yelled. They all crowded closer.
"Pisskop! Pisskop!"--in a moment all the small kids were chanting.
"You hear, you a pisshead," the Judge translated. "Who cut the hat off your snake, Pisskop?"
I looked down. All seemed perfectly normal to me. I looked up at the Judge, confused. The Judge parted his pajama fly. His large "snake" seemed to be a continuous sheath brought down to a point of ragged skin. I must say, it wasn't much of a sight.
More trouble lay ahead of me for sure. I was a Rooinek and a pisskop. I spoke the wrong language. And now I was obviously made differently. But I was still alive, and in my book, where there's life, there's hope.
By the end of the first term I had reduced my persecution to no more than an hour a day. I had the art of survival almost down pat. Except for one thing: I had become a bed wetter. It is impossible to become a perfect adapter if you leave a wet patch behind you every morning.
My day would begin with a bed-wetting caning from Mevrou, a routine that did serve a useful purpose. I learned that crying is a luxury good adapters have to forgo, and I soon had the school record for being thrashed. The Judge said so. I wasn't just a hated Rooinek and a pisskop, I was also a record holder.
The Judge ordered that I only be beaten up a little at a time, and if I could stop being a pisskop he'd stop even that, although he added that, for a Rooinek, this was probably impossible. I was inclined to agree. No amount of resolve on my part seemed to have the least effect.
The end of the first term finally came. I was to return home for the May holidays: home to Nanny, who would listen to my sadness and sleep on her mat at the foot of my bed so the bogeyman couldn't get me. I also intended to inquire whether my mother had stopped breaking down so I would be allowed to stay home.
I rode home joyfully in Dr. "Henny" Boshoff's shiny Chevrolet coupe. As we choofed along, I was no longer a Rooinek and a pisskop but became a great chief. Life was very good. It was Dr. Henny who had first told me about the nervous breakdown, and he now confirmed that my mother was "coming along nicely" but she wouldn't be home just yet. Sadly this put the kibosh on my chances of staying home.
When I arrived at the farm Nanny wept and held me close. It was late summer. The days were filled with song as the field women picked cotton, working their way down the long rows, singing in perfect harmony while they plucked the fluffy white fiber heads from the sun-blackened cotton bolls.
When Nanny couldn't solve a problem for me she'd say, "We must ask Inkosi-Inkosikazi, the great medicine man, he will know what to do." Now Nanny sent a message to Inkosi-Inkosikazi to the effect that we urgently needed to see him on the matter of the child's night water. The message was put on the drums and in two days we heard that Inkosi-Inkosikazi would call in a fortnight or so on his way to visit Modjadji, the great rain queen. The whites of Nanny's eyes would grow big and her cheeks puff out as she talked about the greatness of the medicine man. "He will dry your bed with one throw of the shinbones of the great white ox," she promised.
"Will he also grow skin over my acorn?" I demanded. She clutched me to her breast, her answer lost as she chortled all over me.
The problem of the night water was much discussed by the field women. "Surely a grass sleeping mat will dry in the morning sun? This is not a matter of proper concern for the greatest medicine man in Africa." It was all right for them, of course. They didn't have to go back to the Judge and Mevrou.
Almost two weeks to the day, Inkosi-Inkosikazi arrived in his big black Buick, symbol of his enormous power and wealth, even to the Boers, who despised him yet feared his magic.
All that day the field women brought gifts of food: kaffir corn, squash, native spinach, watermelons, bundles of dried tobacco leaf--and six scrawny kaffir chickens, mostly tough old roosters, their legs tied and their wings clipped.
One scrawny old cock with mottled gray feathers looked very much like my granpa, except for his eyes. Granpa's eyes were pale blue, intended for gazing over soft English landscapes; that old rooster's were sharp as beads of red light.
My granpa came down the steps and walked toward the big Buick. He stopped to kick one of the roosters, for he hated kaffir chickens. His pride and joy were his one hundred black Orpington hens and six giant roosters.
He greatly admired Inkosi-Inkosikazi, who had once cured him of his gallstones. "Never a trace of a gallstone since," he declared. "If you ask me, the old monkey is the best damned doctor in the lowveld."
The old medicine man, like Nanny, was a Zulu. It was said he was the last son of the great Dingaan, the Zulu king who fought both the Boers and the British to a standstill. Two generations after the Boers had finally defeated his Impi at the Battle of Blood River, they remained in awe of Dingaan.
Two years after the battle, Dingaan, reeling from the combined forces of his half brother Mpande and the Boers, had sought refuge among the Nyawo people on the summit of the great Lebombo mountains. On the night he was treacherously assassinated by Nyawo tribesmen he had been presented with a young virgin, and his seed was planted in her womb.
"Where I chose blood, this last of my sons will choose wisdom. You will call him Inkosi-Inkosikazi, he will be a man for all Africa," Dingaan had told the Nyawo maiden.
This made the small, wizened black man who was being helped from the Buick one hundred years old.
Inkosi-Inkosikazi was dressed in a mismatched suit, the jacket brown, the trousers blue pinstripe. A mangy leopard-skin cloak fell from his shoulders. In his right hand he carried a beautifully beaded fly switch, the symbol of an important chief. His hair was whiter than raw cotton, tufts of snowy beard sprang from his chin and only three yellowed teeth remained in his mouth. His eyes burned sharp and clear, like the eyes of the old rooster.
My granpa briefly welcomed Inkosi-Inkosikazi and granted him permission to stay overnight on the farm. The old man nodded, showing none of the customary obsequiousness expected from a kaffir, and my granpa shook the old man's bony claw and returned to his chair on the stoep.
Nanny, who had rubbed earth on her forehead like all the other women, finally spoke. "Lord, the women have brought food and we have beer freshly fermented."
Inkosi-Inkosikazi ignored her, which I thought was pretty brave of him, and ordered one of the women to untie the cockerels. With a squawking and flapping of stunted wings all but one rose and dashed helter-skelter toward open territory. The old cock who looked like Granpa rose slowly, then, calm as you like, he walked over to a heap of corn and started pecking away.
"Catch the feathered devils," Inkosi-Inkosikazi suddenly commanded.
With squeals of delight the chickens were rounded up again. The ice had been broken as five of the women, each holding a chicken upside down by the legs, waited for the old man's instructions. Inkosi-Inkosikazi squatted down and with his finger traced five circles, each about two feet in diameter, in the dust, muttering incantations. Then he signaled for one of the women to bring over a cockerel. Grabbing the old bird and using its beak as a marker, he retraced the first circle on the ground, then laid the cockerel inside the circle, where it lay unmoving. He proceeded to do the same thing to the other four chickens until each lay in its own circle. As each chicken was laid to rest there would be a gasp of amazement from the women.
From the Hardcover edition.
Continues...
Excerpted from The Power of One by Bryce Courtenay Copyright © 2007 by Bryce Courtenay. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Reading Group Guide
1. How does it affect your reading of the novel to know that much of it is at least semi-autobiographical, based on the author’s experiences growing up in South Africa? Do you think it’s important to know exactly what, in a book like this, is real and what is fictional? Why?
2. What is “the power of one”? How does it affect Peekay’s life and the lives of those around him? Is there a mystical or religious component to it, something beyond human causation, or is it something that anyone can learn to develop?
3. Is there any significance to the idea of “the power of one” in this novel beyond the individual? Is Courtenay suggesting that South Africa itself must, like Peekay, develop this power in order to survive?
4. Both boxing and music are important to Peekay and to The Power of One. At times, Bryce Courtenay contrasts them, while at other times he stresses their commonalities, and even describes one in terms of the other–as, for example, when Peekay boxes “like a Mozart concerto” (pg. 249). Identify more of these contrasts and commonalities. Why do you think the author emphasizes them so much?
5. Do you rely upon something like the power of one in your own life? What is it, and how did you develop it? How is it similar to or different from Peekay’s power of one?
6. Why does Granpa Chook become such an important figure to Peekay?
7. Which group has the greater influence on Peekay: people like Nanny, Inkosi-Inkosikazi, Hoppie Groenewald, Doc, and Geel Piet, or those like his mother, Mevrou, the Judge, and Sergeant Borman?
8. After Peekay learns hisnanny has been sent back to Zululand, he climbs up the hill overlooking his house and, as he puts it, “I grew up. Just like that” (pg. 142). Why does this news about Nanny make Peekay grow up?
9. Among other things, The Power of One is a fierce condemnation of racism. Yet despite this, were there parts of the novel that struck you as racist? And if so, why? Does the book rise above these instances, or does it sabotage its own message?
10. Compare the racism of South Africa pre-apartheid and during apartheid as presented in The Power of One, with racism in the United States prior to and during the Civil Rights era. Has South Africa or the United States made more progress in eliminating racism?
11. Why does Peekay, the “Tadpole Angel,” become a symbol of hope for the black Africans? Does Peekay come to accept the hopes and dreams and expectations that the Africans place on him? What actions does he take to fulfill this role?
12. Is it an accident of composition that The Power of One is divided into three parts, or “books,” or did the author purposefully structure the novel this way? If the latter, what was his purpose? Is there a particular significance to the number three in the novel?
13. Why does the Judge have it in for Peekay? Have you encountered people like the Judge in your life? What’s the best way to deal with them? Does Peekay make the right choice? What else could he have done?
14. Why does Hoppie Groenewald’s mantra, “First with the head, then with the heart” (pg. 103) inspire young Peekay with such courage and hope?
15. At one point in the novel, Peekay refers to himself as a “spiritual terrorist” (pg. 360). What do you think he means by this term? Is it more difficult in the post-9/11 world to see this term as positive?
16. At the end of the novel, Peekay uses all his boxing skills to defeat a grown-up Judge. Is this last fight truly a victory? Why or why not?
17. Is religion, not just Christianity but also the indigenous African religion, portrayed favorably or unfavorably in The Power of One? Is there any one character whose opinions about religion you think most resemble those of the author? Why? Do you agree with these opinions?
18. Why do you think the author never tells us the names of Peekay’s mother or grandfather? For that matter, why don’t we ever learn Peekay’s real name?
19. In Book Two, the character of Morrie Levy is introduced, a Jewish boy who quickly becomes Peekay’s best friend and business partner. Does Courtenay make this character Jewish for thematic reasons? Does Morrie seem like a stereotypical Jewish character, or does he transcend stereotypes?
20. What do you think lies ahead for Peekay? Does he become the welterweight champion of the world? Do you think, following his last fight with the Judge, that this goal is still an important one for him?
Foreword
1. How does it affect your reading of the novel to know that much of it is at least semi-autobiographical, based on the author’s experiences growing up in South Africa? Do you think it’s important to know exactly what, in a book like this, is real and what is fictional? Why?
2. What is “the power of one”? How does it affect Peekay’s life and the lives of those around him? Is there a mystical or religious component to it, something beyond human causation, or is it something that anyone can learn to develop?
3. Is there any significance to the idea of “the power of one” in this novel beyond the individual? Is Courtenay suggesting that South Africa itself must, like Peekay, develop this power in order to survive?
4. Both boxing and music are important to Peekay and to The Power of One. At times, Bryce Courtenay contrasts them, while at other times he stresses their commonalities, and even describes one in terms of the other–as, for example, when Peekay boxes “like a Mozart concerto” (pg. 249). Identify more of these contrasts and commonalities. Why do you think the author emphasizes them so much?
5. Do you rely upon something like the power of one in your own life? What is it, and how did you develop it? How is it similar to or different from Peekay’s power of one?
6. Why does Granpa Chook become such an important figure to Peekay?
7. Which group has the greater influence on Peekay: people like Nanny, Inkosi-Inkosikazi, Hoppie Groenewald, Doc, and Geel Piet, or those like his mother, Mevrou, the Judge, and Sergeant Borman?
8. After Peekay learnshis nanny has been sent back to Zululand, he climbs up the hill overlooking his house and, as he puts it, “I grew up. Just like that” (pg. 142). Why does this news about Nanny make Peekay grow up?
9. Among other things, The Power of One is a fierce condemnation of racism. Yet despite this, were there parts of the novel that struck you as racist? And if so, why? Does the book rise above these instances, or does it sabotage its own message?
10. Compare the racism of South Africa pre-apartheid and during apartheid as presented in The Power of One, with racism in the United States prior to and during the Civil Rights era. Has South Africa or the United States made more progress in eliminating racism?
11. Why does Peekay, the “Tadpole Angel,” become a symbol of hope for the black Africans? Does Peekay come to accept the hopes and dreams and expectations that the Africans place on him? What actions does he take to fulfill this role?
12. Is it an accident of composition that The Power of One is divided into three parts, or “books,” or did the author purposefully structure the novel this way? If the latter, what was his purpose? Is there a particular significance to the number three in the novel?
13. Why does the Judge have it in for Peekay? Have you encountered people like the Judge in your life? What’s the best way to deal with them? Does Peekay make the right choice? What else could he have done?
14. Why does Hoppie Groenewald’s mantra, “First with the head, then with the heart” (pg. 103) inspire young Peekay with such courage and hope?
15. At one point in the novel, Peekay refers to himself as a “spiritual terrorist” (pg. 360). What do you think he means by this term? Is it more difficult in the post-9/11 world to see this term as positive?
16. At the end of the novel, Peekay uses all his boxing skills to defeat a grown-up Judge. Is this last fight truly a victory? Why or why not?
17. Is religion, not just Christianity but also the indigenous African religion, portrayed favorably or unfavorably in The Power of One? Is there any one character whose opinions about religion you think most resemble those of the author? Why? Do you agree with these opinions?
18. Why do you think the author never tells us the names of Peekay’s mother or grandfather? For that matter, why don’t we ever learn Peekay’s real name?
19. In Book Two, the character of Morrie Levy is introduced, a Jewish boy who quickly becomes Peekay’s best friend and business partner. Does Courtenay make this character Jewish for thematic reasons? Does Morrie seem like a stereotypical Jewish character, or does he transcend stereotypes?
20. What do you think lies ahead for Peekay? Does he become the welterweight champion of the world? Do you think, following his last fight with the Judge, that this goal is still an important one for him?
