I stood at the ruins
of my former school
where I was patiently moulded;
wild plants occupy every space now;
my soul was paralyzed.
What happened to the roofs
the doors and windows?
Can these dumb lonely walls
still recognise me?
Everything has changed;
the ground where we ran and laughed
and the corner of the playground
where I pummelled a schoolmate almost to pulp
are scarred with wattle to conceal my shame.
A short distance away stands a renovated Church
(a Dutch Reformed formerly, now Methodist)
embraced by a quiet little cemetery
that recalls the past
(the dividing fence has vanished, growth strangles it to near extinction)
cold names of departed white people
who were part of this community
and made monumental contributions
are etched on the headstones.
Sometimes whites come here
to clean and put flowers on their family graves;
a voice whispers next to me, but I do not recognise its speaker
because Lushington has changed except for the graveyard.
Mzi Mahola’s poem, “Everything Has Changed (Except Graves)”, offers a profound meditation on the relentless march of time, the nature of memory, and the enduring presence of the past. This powerful work invites readers to contemplate the transformations that occur in both physical landscapes and personal histories. Through vivid imagery and poignant reflection, Mahola crafts a narrative that resonates deeply with anyone who has returned to a familiar place only to find it irrevocably altered.
Everything Has Changed (Except Graves) Summary and Central Idea
At its heart, “Everything Has Changed (Except Graves)” explores the speaker’s return to his childhood village, Lushington, and the overwhelming sense of change he encounters. The poem opens with the speaker standing amidst the ruins of his former school, a place once vibrant with learning and youthful energy, now consumed by wild plants and decay. This initial shock and paralysis of the soul set the tone for a journey through a landscape that is both familiar and alien.
The central idea of the poem revolves around the paradox of change and permanence. While the school, a symbol of growth and the future, has crumbled, and the playground where childhood dramas unfolded is now “scarred with wattle to conceal my shame,” the nearby cemetery remains largely untouched. This juxtaposition is crucial. The renovated church and its “quiet little cemetery” stand as a testament to continuity, a place where “cold names of departed white people” are still etched on headstones, visited by their descendants. The graves, representing death and the past, are the only elements that resist the sweeping tide of transformation. The poem suggests that while human endeavors and physical structures are fleeting, the memory of those who have passed and their final resting places offer a profound connection to history and a sense of enduring presence.
This poem is noteworthy for its exploration of post-apartheid South Africa, subtly reflecting on the shifts in community and identity. The mention of the church changing from “Dutch Reformed formerly, now Methodist” and the “departed white people” whose contributions are remembered, hints at a broader societal transformation. Yet, amidst these changes, the graves stand as silent witnesses, reminding us that some aspects of history, memory, and human connection transcend even the most radical societal shifts.
In-Depth Analysis of Everything Has Changed (Except Graves)
Mzi Mahola’s “Everything Has Changed (Except Graves)” is a masterclass in evoking emotion and exploring complex themes through precise language and structure. The poem unfolds as a stream of consciousness, mirroring the speaker’s internal journey of reflection and realization.
The Disorientation of Return
The poem immediately immerses the reader in the speaker’s profound sense of loss and disorientation upon encountering the ruins of his former school. The lines:
I stood at the ruins
of my former school
where I was patiently moulded;
wild plants occupy every space now;
my soul was paralyzed.
These lines powerfully convey the initial shock. The contrast between the past, where the speaker was “patiently moulded,” and the present, where “wild plants occupy every space now,” highlights the destructive power of time. The phrase “my soul was paralyzed” encapsulates the emotional impact of witnessing such profound decay in a place once central to one’s identity.
Questioning the Past
The speaker’s internal struggle is further emphasized through rhetorical questions that express disbelief and a longing for recognition from the past:
What happened to the roofs
the doors and windows?
Can these dumb lonely walls
still recognise me?
These questions are not seeking answers but rather articulating the speaker’s bewilderment and the painful realization that the physical remnants of his past no longer hold the same meaning or connection. The idea that “dumb lonely walls” might recognize him speaks to a deep human desire for continuity and acknowledgment from one’s history.
The Scars of Memory and Shame
The poem delves into personal memory, revealing both fond recollections and moments of youthful transgression. The speaker recalls the “ground where we ran and laughed” alongside a more troubling memory:
and the corner of the playground
where I pummelled a schoolmate almost to pulp
are scarred with wattle to conceal my shame.
This candid admission of past violence adds a layer of complexity to the speaker’s reflection. The natural growth of “wattle” over this specific spot is personified as actively trying “to conceal my shame,” suggesting that nature itself participates in the process of forgetting or covering up uncomfortable truths. This detail underscores how personal history, with its imperfections, is intertwined with the changing landscape.
The Enduring Presence of Graves
The pivotal shift in the poem occurs with the introduction of the cemetery. In stark contrast to the decaying school, the graveyard represents a form of permanence:
A short distance away stands a renovated Church
(a Dutch Reformed formerly, now Methodist)
embraced by a quiet little cemetery
that recalls the past
Even though the church has undergone renovation and a denominational change, the cemetery remains a steadfast anchor to history. The “cold names of departed white people” etched on headstones serve as tangible links to a community’s past, their “monumental contributions” still acknowledged. The act of descendants coming “to clean and put flowers on their family graves” reinforces the idea that these resting places maintain a living connection across generations, unlike the forgotten school.
The Final Realization
The poem culminates in a powerful statement that encapsulates its central theme:
a voice whispers next to me, but I do not recognise its speaker
because Lushington has changed except for the graveyard.
The unidentified whispering voice symbolizes the fragmented and altered nature of the present. The speaker’s inability to recognize it highlights the extent of the transformation. The concluding line, “Lushington has changed except for the graveyard,” serves as a stark and memorable summary of the poem’s core message: while all else succumbs to the relentless forces of time and change, the graves stand as immutable markers of what once was, preserving a tangible link to the past.
Literary Devices in Everything Has Changed (Except Graves)
Mzi Mahola masterfully employs a range of literary devices to enrich “Everything Has Changed (Except Graves)”, deepening its emotional resonance and thematic complexity. These tools allow the poem to transcend a simple narrative, inviting readers into a profound contemplation of memory and change.
Assonance
Assonance, the repetition of vowel sounds within non-rhyming words, creates a musicality and emphasizes certain phrases. The repeated “a” sound in:
the ground where we ran and laughed
draws attention to the joyful memories of childhood, making the subsequent description of the scarred ground more poignant. Similarly, the long “o” sound in “moulded” and “occupy” (with a similar vowel sound) subtly connects the past state of being shaped with the present state of being taken over.
Alliteration
Alliteration, the repetition of initial consonant sounds, adds a rhythmic quality and highlights specific words. The “m” sound in:
made monumental contributions
emphasizes the significant impact of the departed individuals, underscoring the respect and remembrance associated with the graves. This sonic repetition makes the phrase more memorable and impactful.
Allegory
While not a strict allegory with a one-to-one symbolic correspondence, the poem functions allegorically by presenting concrete elements that represent broader truths. The decaying school allegorically represents the impermanence of human structures and the fleeting nature of life’s active phases. Conversely, the enduring cemetery allegorically stands for the persistence of memory, the finality of death, and the lasting connection to ancestry, suggesting that some aspects of existence transcend physical decay.
Enjambment
Enjambment, the continuation of a sentence or phrase from one line to the next without a pause, creates a sense of fluidity and mimics the natural flow of thought or observation. Consider these lines:
I stood at the ruins
of my former school
where I was patiently moulded;
wild plants occupy every space now;
my soul was paralyzed.
The enjambment here propels the reader forward, mirroring the speaker’s uninterrupted gaze and the gradual, overwhelming realization of the changes. It allows the emotional impact to build across lines rather than being contained within single units.
Imagery
Mahola’s use of vivid imagery engages the reader’s senses and creates a strong, palpable sense of place and emotion. Phrases such as “wild plants occupy every space now” paint a clear picture of neglect and natural reclamation. The description of “dumb lonely walls” evokes a sense of desolation and abandonment. The “cold names of departed white people” on “headstones” creates a stark visual and tactile image of the cemetery, emphasizing its solemn and enduring nature.
Personification
Personification, the attribution of human qualities to inanimate objects, imbues the landscape with a sense of consciousness and emotion. The line:
Can these dumb lonely walls
still recognise me?
gives the walls a capacity for memory and recognition, highlighting the speaker’s deep longing for a connection to the past and the feeling that even the inanimate objects of his youth should remember him. Similarly, “growth strangles it to near extinction” personifies the natural growth as an aggressive force, actively destroying the fence.
Rhetorical Question
The poem employs rhetorical questions, which are posed for effect rather than to elicit an answer, to convey the speaker’s emotional state and provoke reflection. Questions like:
What happened to the roofs
the doors and windows?
and
Can these dumb lonely walls
still recognise me?
express profound bewilderment, sorrow, and a yearning for understanding in the face of overwhelming change. They draw the reader into the speaker’s internal dialogue and emotional turmoil.
Symbolism
Symbolism is central to the poem’s meaning, with various elements representing abstract ideas. The “school” symbolizes education, childhood, growth, and the impermanence of human endeavors. The “cemetery” represents death, memory, history, and the enduring connection to ancestors and the past. The “church” signifies faith, community, and the capacity for transformation, even as its core function remains. The “wild plants” and “wattle” symbolize nature’s relentless reclamation and the passage of time, covering both physical structures and past transgressions.
Poetic Devices in Everything Has Changed (Except Graves)
Beyond literary devices, specific poetic techniques contribute to the unique form and impact of “Everything Has Changed (Except Graves)”.
Free Verse
The poem is written in free verse, meaning it does not adhere to a strict rhyme scheme or metrical pattern. This choice allows Mahola to create a natural, conversational tone that closely mimics the speaker’s thoughts and observations. The absence of rigid structure gives the poem a sense of spontaneity and authenticity, making the speaker’s reflections feel immediate and deeply personal. It also allows for emphasis on specific words and phrases through line breaks and rhythm, rather than relying on traditional poetic forms.
Stanza
The poem is composed of a single, extended stanza. This structural choice reinforces the sense of a continuous stream of consciousness, an unbroken meditation on the changes observed. The lack of stanza breaks mirrors the uninterrupted flow of the speaker’s thoughts as he moves through the landscape, connecting observations and memories without formal interruption. This continuous form draws the reader into the speaker’s immersive experience, creating a sustained atmosphere of reflection and contemplation.
Conclusion
“Everything Has Changed (Except Graves)” by Mzi Mahola is a deeply moving and thought-provoking poem that masterfully explores the universal themes of change, memory, and permanence. Through the speaker’s poignant return to his childhood village, the poem contrasts the decay of human structures with the enduring presence of the past, particularly as embodied by the cemetery. Mahola’s skillful use of literary and poetic devices, from vivid imagery and personification to the natural rhythm of free verse, creates an immersive experience that resonates with readers. The poem ultimately reminds us that while the world around us is in constant flux, some connections to our history and those who came before us remain steadfast, offering a powerful testament to the enduring human spirit and the indelible marks of memory.