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    1. Today there are fewer white people on the mission. They are called expatriates, not missionaries, and can be seen living in unpainted brick houses. But they are deified in the same way as the missionaries were because they are white so that their coming is still an honour. J am told that whether you are called an expatriate ora missionary depends on how and by whom you were recruited. Although the distinction was told to me by a reliable source, it does not stick in my mind since I have not observed it myself in my dealings with these people. I often ask myself why they come, giving up the comforts and security of their more advanced homes. Which brings us back to matters of brotherly love, contribution and lightening of diverse darknesses.

      The ongoing "deification" of white figures on the mission reinforces an implicit social lesson that authority, wisdom, and value remain rooted in Western, colonial systems rather than local traditions. For girls like Tambu and Nyasha, growing up in this environment means their personal development and education are bound to a system that demands cultural self-effacement to gain approval. Ultimately, this racial dynamic adds an inescapable layer of displacement to their struggle as young women, forcing them to negotiate their identity under both colonial condescension and patriarchal rule.

    2. nversation I had with my mother about the toilet happened four or five days after we arrived. On the day we arrived, when the car rolled to a stop under the shade of the mango trees, we were greeted by depressing silence. When people did come to welcome us it was only Netsai and Rambanai, more naked than dressed in their tattered frocks, their legs and their arms and even their hair and faces grey with shena. Dirty and dusty, they embraced us, wrapping their arms around Babamukuru first and then Maiguru, Nyasha, myself and lastly Anna: ‘You have come, Babamukuru. You have come, Maiguru. You have come, Sisi Nyasha,’ and so on until we had all been ritually embraced.

      Netsai and Rambanai's primary role during the arrival is immediately framed through subservience and ritualistic duty as they dutifully welcome and embrace the higher-status family members. Ultimately, their neglected physical state stands in stark contrast to the privileged, educated life Tambu and Nyasha experience at the mission, exposing how poverty severely limits a girl's dignity and development within the homestead.

    3. t was embarrassing the way Lucia wouldn't give up on Maiguru. Maiguru, who thought that Lucia ought to suffer the consequences of her fecund appetites, perhaps felt sorry for her too, but preferred all the same not to become involved in matters of the flesh or the earth, although she did not like this preference to be too obvious since it meant she was setting herself above the rest of us. Now, with Lucia insisting that Maiguru take sides, come out in the open, we were in a very delicate situation.

      Lucia’s relentless pressure on Maiguru was painful to watch. Maiguru believed Lucia should lie in the bed her runaway passions had made, yet a sliver of sympathy lingered beneath her cool exterior. Still, she preferred to keep her hands clean of dirty, earthbound affairs—though she hid that superiority carefully to avoid looking like she was too good for the rest of us. But now, with Lucia forcing her into a corner and demanding she take a stand, we were all walking on razor-thin ice.

    4. Maiguru grew very distant. “This matter is not my concern,’ she shrugged, carelessly turning down the corners of her mouth. ‘Am I of their totem? I am not. I was taken. Let them sort out their own problems, and as for those who want to get involved, well, that’s up to them. I don’t want to intrude into the affairs of my husband’s family. I shall just keep quiet and go to bed.’

      Although Maiguru is an educated, highly accomplished woman holding a Master's degree, her societal role is reduced to a passive dependent within Babamukuru's patriarchal family structure. Her cynical detachment ("I was taken") and refusal to get involved reflect her coping mechanism for surviving an environment where her intellect and voice carry no institutional weight. Ultimately, her deliberate retreat into silence ("I shall just keep quiet and go to bed") underscores the tragic purpose of the novel: illustrating how patriarchal dominance and colonial structures force even the most educated women into self-suppression and emotional disengagement.

    5. As far as I was concerned, people only made clay pots when they were very young and playing at being grown up, or when they were grown up because they had to have pots for storing water and mahewu and the like. But we used two- and five-gallon drums for water these days and I had never seen anybody make a proper dari although we had several in the house. So those pots were definitely Nyasha’s craze, not mine, and while she was very concerned about making sure that they did not crack, while she was meticulous in scratching her designs, they did not matter much one way or the other to me, serving only to pass the tim

      Tambu’s dismissal of the activity as "Nyasha’s craze" underscores how Nyasha's Westernized desire for creative autonomy alienates her from other girls who view womanhood strictly through the lens of utilitarian labor. Ultimately, obsessing over the clay pots provides Nyasha a rare, private space where she can exert agency and control in a world where her thoughts, behavior, and body are otherwise heavily policed.