THE POWER OF ONECHAPTER 13-15 REVIEW

CHAPTER 13 ANALYSIS

• Peekay's narrative style in Chapter 13 deviates from its neat, linear flow and becomes more episodic. As Peekay approaches his tenth birthday, his attention must encompass much more than previously.

• Not only must he introduce us to the new characters in his life, but also to the infamous political events in South Africa and abroad.

• Juxtaposed against Peekay's first experience of falling in love-a private, inner experience- are the sinister, exterior events of World War II (albeit concluding) and the instigation of the Oxwagon Guard.

• The Oxwagon Guard was a small, radical, ex- parliamentary group founded with similar notions of "racial purity" as Hitler's Nazi party. The narrative darts about from the prison to the school to the home, interspersed with both personal "history lessons" (such as Isaac Bornstein's story) and impersonal "history lessons" (such as Peekay's explanation of the Oxwagon Guard). In such a way, the author allows us to experience directly Peekay's growth to adolescence. The reader has the sense that the narrator is in the process of learning how to balance his many subplots, just as Peekay has to learn how to balance the many awakening elements of his life.

CHAPTER 13 ANALYSIS

• Instead of closing on a hopeful note in keeping with Chapter Eleven and Twelve, Chapter Thirteen concludes with the threats of the lieutenant Borman.

• Although we no longer think of Peekay as a child due to his precociousness, at times the boy reveals misunderstandings typical of ten-year-olds. "Coming-of- age" humor results from Peekay's desire to become a Jew when he grows up, and from his innocence about what "the trick" is.

• These moments of comedy complements the descriptions of Peekay's immersion in the world of the prison's black market-the humor of his childlike confusion along with the maturity of much of his behavior work together to create the novel's genre, the bildungsroman.

CHAPTER 13 ANALYSIS

• Interestingly, Peekay's tone towards Pastor Mulvery and his mother's religious fanaticism is much more candidly ironic than his attitude towards the violent behavior of Borman. Much of Chapter Thirteen is devoted to the theme of religious fervor and hypocrisy-Peekay has no illusions about materialism being the source of the born-again Christians' behavior.

• For instance, he humorously suggests that they are staking a claim on the "real estate" of Heaven. The theme of different methods of storytelling reemerges as Peekay's mother gives him the task of teaching Dum and Dee the Shangaan Bible.

• The girls can only relate to the Old Testament, since this approximates their own cultural method of storytelling-one of myths and legends. The fact that they can relate to the Old Testament provides a glimmer of hope-the author suggests that even in the midst of difference, similarities can be unearthed.

CHAPTER 14 ANALYSIS

• Chapter 14 analyzes the racial tensions of 1940s South Africa. Setting in the novel is more than background for the characters actions.

• The author's slow revelation of the evil in South Africa also works as a method of chartering the birth of Peekay's consciousness of racism.

• Chapter Fourteen shows a significant leap when contrasted with Chapter Four, in which six-year-old Peekay notices a "BLACKS ONLY" sign. Now, at a slight ten years of age, he must face the horrific murdered body of his first true boxing coach and his dear friend, Geel Piet.

• Peekay's voice is uncompromising as he repeatedly refers to the blood in which he finds his friend. Later, when Lieutenant Smit avenges Geel Piet's death, Peekay provides us with a gruesomely cinematic recount of the violent fighting of the men, and their equally offensive dialogue.

CHAPTER 14 ANALYSIS

• Chapter Fourteen, at the heart of the novel structurally and thematically, forces the reader to witness the atrocities of racism in South Africa. For example, Borman screams that he "jammed the fucking donkey prick up [Geel Piet's] arse till he shit his entrails." As Peekay loses his innocence, the novel does too.

• Chapter Fourteen is thematically at the heart of the novel since it shows that the line between "boxing" and "fighting" is sometimes indistinct. It is significant that Lieutenant Smit first boxes Borman in the ring before they begin to fight. Smit has often encouraged Peekay to fight in the ring, whereas Geel Piet has insisted that the notion of "fighting" should be separated from boxing.

• Certainly, Peekay's descriptions of his boxing matches have elevated the sport into an art form; the lyricism of these descriptions is aided by Doc's constant music metaphors, in which he compares boxing to music.

• Peekay himself is not entirely innocent-in his playground fight with Snotnose Bronhurst he blurs the distinction between boxing and fighting by headbutting his opponent. The reader cannot help but be reminded that Peekay's initial interest in boxing stemmed from his fear of the Judge and his need to be assured that "small" could conquer "big.“

• Chapter Fourteen complicates, rather than resolves these issues. To his credit, Peekay shows the ability to criticize himself-in Chapter Fourteen he includes himself in his critique of "white supremacy" by pointing out his own childish arrogance and presumption in believing he can conduct the black prisoners in the concert.

CHAPTER 15 ANALYSIS

• Chapter Fifteen provides a conclusion to Book One by summarizing the final events in Peekay's life before he departs for Johannesburg.

• The tone is overwhelmingly light and optimistic as the older Peekay reports his successes- his brilliant school, boxing, and music accomplishments. The final sentence of the chapter-expressing Peekay's sense of retribution towards Borman-comes as an unexpected shock.

• The author chooses to close Book One not on Peekay's successes, but on his avenged hatred for the murderer of Geel Piet-the reader is left to mull over the gory image of Borman's rectal hemorrhage, not Peekay's certificates.

• In such a way, the author reminds the reader that in 1940s South Africa, one cannot take a peaceful period for granted-trouble and violence is an everyday reality and can spring on one suddenly. Peekay shows how Doc and Granpa are foils to one other: Whereas Doc represents the world of logic and rationality, Granpa symbolizes the world of detours and non-sequiturs. Peekay needs both elements in his life, just as he needs both men in his life.

CHAPTER 15 ANALYSIS

• Granpa's ingenious plan to help Peekay gain his mother's approval for the letter-writing program represents the first material difference Granpa has made to Peekay's life. Thus, even though Doc has become Peekay's best friend, Peekay still relies on the other people in his life.

• The love and respect Peekay enjoys from all of those around him culminates at the end of Chapter Fifteen, when everyone comes together to help provide Peekay with the clothes he requires for the Prince of Wales School.

• Thus, while outlining his path towards becoming a legend-in the eyes of black and white and "colored" South Africans-Peekay acknowledges the great role played by his companions.