Written in 1983, “Fools & Other Stories” by Njabulo Ndebele deals with the experiences of ordinary people living under the apartheid regime. The author subtly comments on the political environment of the 1980s through the lives of average black citizens affected by the apartheid system. Ndebele work can be described as the literature of the victim or the powerless as it is written as an appeal to the conscience of the oppressor and aims to make them aware of the forgotten lives of ordinary people. It can be argued that “The Test” is about the context of childhood suffering while “Fools” is about an adult's realization of personal restrictions in a larger social context, but the accuracy of these claims requires further examination. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Although "The Test" is written in the third person, the story is told through Thoba's perspective. A young boy from a privileged family, Thoba has a deep desire to experience the hardships his peers are subjected to. Ndebele writes that “Thoba envied these boys” (p. 7) and that “… Thoba also wished he had chapped feet” (p. 4) just like Nana's. By using the word “desired,” Ndebele suggests that this character has a strong emotional desire for this suffering. Because Thoba comes from an advantaged family, he comes under scrutiny from his less fortunate peers. This boy has successful parents who worked hard to be able to get their children into a better class. Vusi, Mpiyakhe and Simangele mock Thoba because his sheltered lifestyle has denied him many experiences of suffering that he so desperately longs for. Mpiykakhe says condescendingly “Temme, all of you. You're too high. That's your problem” (p. 12). However, it is later established that Mpiyakhe is also “high class” as he is the son of a successful man who owns a prosperous taxi service. Mpiyakhe lives in a big house, goes to a good school, eats well and is therefore also nicknamed a "soft" by Thoba and the boys of Mayaba Street. It can be deduced that Mpiyakhe hates being made fun of and adopts the role of the sufferer to try to hide the inevitable fact of being a "softie". This attitude is demonstrated in the line: “…he would take it out on Thoba, trying to transfer the ridicule” (p. 13). It is suggested that he also secretly suffers from the suffering of the other boys. Additionally, “The Test” addresses the challenges of being a boy and the desire to publicly test one’s limits that come with growing up. One of the main themes of this story is that of masculinity and all that comes with it: competitiveness, stubbornness, aggression and a distorted sense of sadism and masochism. Ndebele makes many references to boys physically fighting with each other, an example seen in the line "A fight seemed inevitable..." (p. 9). Boys use fighting to deal with their own aggression as well as a way to determine who is stronger and therefore who is more capable of dealing with each other's suffering. In addition to receiving gratification and pleasure in fighting each other, the boys also find satisfaction and pleasure in showing their superiority to each other by subjecting themselves to pain and suffering. An explicit example of this is when Vusi asks Simangele: “How would you like to be a horse in the rain?” (p. 14). The boys challenge each other by saying “I bet you can never go in the rain without a shirt” (p. 14) and “Let's see if you can be a horse too” (p. 14). The boys run in the rain half naked and yesthey subject themselves to pain and suffering just to demonstrate their physical prowess and superiority over each other. This attitude is demonstrated once again in the phrase: “The weak, all of them” (p. 18). At the end of “The Test” Thoba is able to experience the difficulties of the other boys. Wet, cold, suffering and sick: he is finally happy. He says “There was suddenly something deeply satisfying and pleasurable about the pain” (p. 24). Thoba's efforts to assert his masculinity, prove his supremacy, and experience real suffering have paid off, in the end he feels so alive (p. 24). Boys produce pain on their own terms, regardless of the oppressors in their respective lives. Vusi, Simangele, Nana, Mpiyakhe and especially Thoba take control of their own lives and experiences and refuse to let other forces dictate and prescribe their suffering. On the other hand, it can be argued that "Fools" is about an adult's recognition of his own suffering. limitations in the broader social context. However, many agree that it is not only the adult Zamani who deals with his restrictions, but also the adolescent Zani. Both men want to bring about social change, but they do it differently. Zani brings with him the suitcase full of books and tells the old man that “I don't build houses with them; I build the mind” (p. 141). He is also quite militaristic when it comes to spreading his ideas about social change, as seen in the sentence written by his girlfriend: "I haven't read a single book since I came home, as you ordered me to" (p. 206) . Ndebele, using the word "orderly", suggests that Zani gave an authoritative command to Ntozakhe. The author also clarifies that Zani loves the idea of ​​freedom and struggle but struggles to concretely achieve the social change he always talks about. The teenager's attitude is seen in the lines: "What else can we talk about in this country?" (p. 175) as well as “It's so easy to make plans, and then it all falls apart because the right action seems so rare” (p. 227). The 18-year-old points out to Nosipho that when one becomes obsessed with eliminating oppression, one becomes the oppressor themselves. Zani is completely unaware that he is essentially describing himself. The young adult victimizes the very people he wishes to help and reduces them to inferior positions within the struggle. Zani's girlfriend sums up this characteristic well: “You can't convince people of your truth by telling them their stupidity (p. 207). There are many instances where Zamani also embodies this tyrannical trait. It is clear to readers that Zamani used to “beat a child until his skin peeled off” (p. 132). The power dynamic created by the physical abuse of a child can be compared to the relationship between Zani and people who are in desperate need of social transformation. Since the teacher cannot defeat the apartheid system of power relations, he adheres to it. Zamani inflicts harm on others and takes pleasure in it: “He was just the kind of boy I liked to tame” (p. 133). In addition to being a sadist and taking pleasure in the pain of others, Zamani also shows signs of masochism, evident in the part of the story where the white Afrikaans man brutally whips Zamani. The teacher does not resist the beatings but passively accepts what he believes is his punishment for years of sin. While the whipping felt “as if [his] skin had peeled off and boiling water had been thrown over his exposed and torn inner flesh” (p. 225), Zamani begins to laugh. Zamani is purified by the whip and finally finds the redemption and salvation he has been seeking for so long. Another personal limitation that both men acknowledge, only begrudgingly, is their difficulty maintaining.