Your grandmother taught me to read when I was only four. She also taught me to write, by which I mean not simply organizing a set of sentences into a series of paragraphs, but organizing them as a means of investigation. When I was in trouble at school (which was quite often) she would make me write about it. The writing had to answer a series of questions: Why did I feel the need to talk at the same time as my teacher? Why did I not believe that my teacher was entitled to respect? How would I want someone to behave while I was talking? What would I do the next time I felt the urge to talk to my friends during a lesson? I have given you these same assignments. I gave them to you not because I thought they would curb your behavior - they certainly did not curb mine - but because these were the earliest acts of interrogation, of drawing myself into consciousness. Your grandmother was not teaching me how to behave in class. She was teaching me how to ruthlessly interrogate the subject that elicited the most sympathy and rationalizing - myself. Here was the lesson: I was not an innocent. My impulses were not filled with unfailing virtue. And feeling that I was as human as anyone, this must be true for other humans. If I was not innocent, then they were not innocent. Could this mix of motivation also affect the stories they tell? The cities they built? The country they claimed as given to them by God?

The novelist is one who, according to Flaubert, seeks to disappear behind his work. To disappear behind his work, that is, to renounce the role of public figure. This is not easy these days, when anything of the slightest importance must step into the intolerable glare of mass media, which, contrary to Flaubert’s remark seems to me a kind of warning: in lending himself to the role of public figure, the novelist endangers his work; it risks being considered a mere appendage to his actions, to his declarations, to his statements of position.

In reality, I met a lean, dark-suited gentleman, whose height dwarfed mine. Was he going to talk about his prison days? Ask me about Kenyan politics? Or simply voice his dreams for a South Africa whose leadership he would soon assume? He didn’t ask about any of these things. He talked mostly about books: what African writers had meant to him and his fellow political prisoners, and how books had played a role in buoying their spirits. Books, books, and more books. I felt as if through me he was talking to all writers of the world.

An excellent student of South African literary and intellectual history, Mphahelele was aware of the words of R.V. Selope Thema in an issue of the Chamber of Mines weekly newspaper for workers, Umteteli wa Bantu (Mouthpiece of the People), in March 1929:

The duty of Bantu writers and journalists, as that of writers and journalists of other races, is to call the attention of the leaders to the things that are detrimental to the interest and welfare of our people. A writer who does not criticize and correct the mistakes of his people does not fulfill the purpose for which God endowed him with the power of the pen. A writer is a prophet, and his duty is not only to prophesy but also to rebuke, when necessary, the people for wrongdoing; to criticize, when occasion demands it, the conduct and methods of the leaders of his race, and point out the way of salvation.

The primary role of the writer, or more broadly the artist, is to produce the healthiest material for the education of the imagination. Just as unhealthy food weakens the body and bad ethical choices diminish the spiritual, so also bad art can limit the imagination or direct it to unhealthy ends. That’s why the arts should not be a luxury in the school system. They should be central to it. Even engineers, architects, urban planners, teachers, and scientists thrive on a robust imagination that can find links between phenomena.