Bengithi Lizokuna Novel

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International Journal of Social editor@ijssrr.com
Volume 6, Issue 12
Science Research and Review December, 2023
Pages: 1-20
Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna1

Themba Mandlenkosi Madingiza
University of Johannesburg, South Africa
E-mail: tmmadingiza@uj.ac.za
http://dx.doi.org/10.47814/ijssrr.v6i12.1679
Abstract
In many countries2, queer communities are subject to harassment, abuse and even death because
of their sexual orientation and sexual identities. On the contrary, some laws in other countries, like South
Africa, guarantee equal rights for all individuals, regardless of their sexual orientation. Using queer
theory, the study explores how freely queer people are portrayed in the novel Bengithi Lizokuna (2006)
by Nakanjani G. Sibiya using textual analysis. What is emerging from the study is that most of the
heterosexually dominated communities are still not ready to accept queer people as being part of their
lives. Most authors of African literature books often portray queer people negatively, which does not help
the situation. Most Black African societies continue to believe that a normal romantic relationship only
involves a man and a woman; once any relationship opposes that of heterosexuals, it is seen as abnormal,
and they may even try to correct that ‘behaviour’. One of the ways that this misconception could be
changed is to introduce sexuality and gender awareness so that people can be educated about sexual
diversity.
Keywords: Queer; Sex; Gender; Transgender
Literature Review
Very little research has been done regarding the portrayal of queer people in isiZulu literary
works and with the research known to the researcher; none uses queer theory in textual analysis. With this
challenge, the following literature review comprises studies about queerness and will be used to identify
gaps that need to be closed.
1 The publication of this chapter was made possible by the funding received from the National Institute for Humanities and Social
Sciences (NIHSS).
2 The term queer will be used in the study to generally refer to any member of the Lesbian, Gay, Transgender, Queer, Intersex,
Asexual and Others (LGTBQIA+) community.
Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 1

International Journal of Social Volume 6, Issue 12
Murray and Roscoe (1998) published a book with the title Boy-Wife and Female Husbands:
Studies in African Homosexuality. This is one of the first and few books based on African gender studies.
The book consists of essays about same-sex relations and mixed gender roles found before and after
colonisation. What is common about these essays is that they all show patterns of homosexuality and that,
in traditional societies, there are indigenous names used to refer to the homosexuals. These essays also
show that homosexuality was never introduced by colonisation, it has always been an integral part of
identity and cultural practices of certain African ethnic groups. Murray and Roscoe (Op cit.) also note that
it was a culture shock when the first colonisers who came to Africa learned that homosexuality was
normal in some parts of Africa. They add that these colonisers later introduced laws that were against
homosexuality in their colonies.
Ntuli’s (2009) MA dissertation, IsiNgqumo: Exploring Origins, Growth and Sociolinguistics of

an Nguni Urban-township Homosexual Subculture, just like in the above-mentioned book, proves that
homosexuality has always existed in South Africa pre-colonisation. One of Ntuli’s evidence is that in the
Zulu culture, there were certain rites of passage where men would have sexual intercourse with other men
in order to prepare them for adulthood. He finds that isiNgqumo, a Nguni gay language, was also
developed as a secret language where gays could communicate with one another without anti-gays
understanding them and this gave them some form of empowerment and belonging. With the Nguni gay
men, known as skesanas, Ntuli finds that isiNgqumo is used to distinguish township skesanas from the
city/suburban skesanas. The former use isiNgqumo as their language and the latter see it as colloquial
speech. His research shows that queer people have formed subcultures, created secret spaces to survive
and communicate.
Rudwick (2011), in her article titled Defying a Myth: A Gay Sub-Culture in Contemporary South
Africa, also debunks the myth that being gay is ‘un-African’ by researching one of South Africa’s gay
sub-culture. This research is similar to Ntuli’s as Rudwick was involved in it and both researches share
similar findings. She discovers that there has always been a history of Zulu gay men, who have developed
their own linguistic code, new meanings of being Zulu and re-defined culture, but still practice important
Zulu cultural traditions. For example, these men speak isiNgqumo, believe in amadlozi (ancestors) and
obey the traditional law of hlonipha (respect) which, according to Rudwick, does not make them any less
Zulu.
Msibi’s (2012) article with the title ‘I’m used to it now’: Experiences of Homophobia among
Queer Youth in South African Township Schools, looks at how black queer learners are sexually
discriminated in one of KwaZulu-Natal’s township. He finds that the queer leaners’ schooling experience
is negatively affected by the disciplinary actions and hate speech often perpetrated by teachers and then
spreads to the rest of the school. On the positive note, Msibi finds that the queer learners have learnt to
develop a coping mechanism to resist the homophobia and he recommends that teachers have to be re-
educated about sexual diversity.
Lake’s (2014) Black Lesbian Bodies – Reflections on a Queer South African Archive, as an
article, solely focuses on lesbophobia, which means fear, discrimination and violence against lesbians.
She uses John Fiske’s cultural theory to analyse Zanele Muholi’s documentary photography on the
representation of black lesbian identities. Lake investigates violence against black lesbian bodies as
portrayed, and the reactions to the photography. She finds that women who have shared their lesbophobic
experience are often revictimised by the media and the notion that homosexuality is ‘unAfrican’ is
emphasised. She concludes her study by observing that the black lesbian body remains bold and resistant
despite the discrimination and sexual violence the survivor may have gone through. This fierceness also
challenges the social norm and opposes any harm against queer bodies.

Brown’s (2014) article, titled South Africa's Gay Revolution: The Development of Gay and
Lesbian Rights in South Africa's Constitution and the Lingering Societal Stigma Towards the Country's
Homosexuals, documents the history of homosexual rights and laws in South Africa from apartheid to
post-1994. Brown finds that gays and lesbians fought for their rights in the apartheid era and even before
that. It was only worse during apartheid as the National Party (the previous ruling party) did not recognise
the rights of people from a diverse sexual orientation and this led to gay revolution. He further finds that
the laws became better when South Africa finally received its freedom in 1994. The parliament of 1996
saw homosexuals eventually having equal rights as heterosexuals. Brown concludes that even though that
is the case, homosexuals do not enjoy their rights as homophobia still prevails and they continue fighting
against the attacks.
Njilo’s (2014) Masters dissertation, with the title Ucwaningo Ngokuvezwa Kwabalingiswa
Abanemizwa Yobulili Obufanayo Ezincwadini ZesiZulu Zamabanga Aphezulu Nokufundiswa Kwazo
Esikoleni SaseMpangeni (A Study to Explore the Portrayal of Homosexual Characters in IsiZulu Literary
Texts and How They are taught in One Empangeni District School), explores how homosexual characters
are portrayed in selected isiZulu literary texts taught in a school using Pharr’s Theory of Oppression. In
this study, Njilo comes to the conclusion that authors of the books that were analysed and the teachers,
who teach them, perpetuate homophobia to the learners and the society as a whole.
Luttig’s (2014) Master’s dissertation; Depictions of Queer Female Characters in Contemporary

South African Documentary Film, studies the depiction of Black South African lesbians in selected local
documentary films. She finds that even though the depictions have grown, the representation of queer
male identities remains more widespread than those of queer females. She also notes that the depictions of
the latter are still negative and the stories told are stereotypical. According to Luttig, queer black identities
in the films are negligible, made invisible and the films are often themed around “corrective” rape.
Mabokela (2015), in her Master’s dissertation titled The Viewers’ Perception on the Portrayal of
Gays and Lesbians in Selected Television Programmes, compliments the South African television for
increasingly portraying gays and lesbians in the last decade (2005-2015). Similar to Luttig’s (Op cit.)
research, Mabokela also criticises the negative and stereotypical portrayal of the minority group. She
finds that gays are portrayed as feminine and lesbians are portrayed as masculine in most television
shows, which is not often the case in reality. She further comments on the portrayal that it is inaccurate,
affects gays and lesbians already living in communities that marginalise them and perpetuate
homophobia.
Ekotto (2016), published an article with the title Framing Homosexual Identities in Cameroonian
Literature. In this article, using selected contemporary Cameroonian literary works, Ekotto explores how
space and language can be used to describe the experience of Lesbian, Gay, Bisexual and Transgender
(LGBT) individuals. She finds that after analysing her own novel, ‘Portrait d’une jeune artiste de Bona
Mbella’ and Lobé’s, ‘39 Rue de Berne’, same sex relationships have become important in modern
Cameroonian literature because they were less valued in the past. Ekotto notes that these works create
space within the imagination of Cameroonians about being a free queer person as it is still illegal in the
country. Similar to Ntuli’s (2009) and Rudwick’s (2011) studies mentioned above, she also notes that
lesbians do talk about homosexuality using coded language in order to avoid being judged by society.
Zulu’s (2016) article, A Textual Analysis of Male Gayness in Nakanjani Sibiya’s Novel, Bengithi
Lizokuna, explores how Sibiya’s novel represents gay images in relation to the South African gay rights
using the Intercultural Communication Theory. Zulu’s findings are opposite to those of Njilo referred to
above, in that she sees the author of the novel demonstrating queer people as free to express themselves
and are also accepted like any other communities in the new South Africa.

Devji (2016), investigates if there is a way for recognising queer rights in Africa, specifically
South Africa and Uganda, in her article titled Forging Paths for the African Queer: Is There an “African”
Mechanism for Realizing LGBTIQ Rights? She finds that the way forward is to increase the visibility of
queer groups throughout Africa that will continue fighting for queer rights, especially in countries that
criminalise being queer. She further adds that silence and the fear of coming out of the closet will only
supress queer people and that they may end up being forgotten by society.
Lee et al. (2017), with the article titled Lesbian, Gay, Bisexual and Transgender Rights in South
Africa: A Struggle for Equality, investigate the homophobia that exists in certain parts of South Africa. In
their research, they find that the LGBT people still suffer socio-economic and cultural discrimination
influenced by some moral, religious and political beliefs. The research recommends that there should be
social awareness about the diversity of sexuality and that well-known people should not shy away from
declaring their sexual orientation publicly.
Mailula (2018), in her Master’s dissertation titled Violent Anxiety: The Erasure of Queer
Blackwomxn in Post-Apartheid South Africa, investigates different ways queer black woman/women
is/are erased in South Africa by using an intersectional approach. She finds that these women are erased
through the oppression they receive from racism, patriarchy and heterosexism. Her research is based on
the queer black women who have been killed in South Africa because of their sexual orientation. Most of
these women were raped and killed by men attempting to ‘correct’ their gender and trying to make them
straight women. Mailula breaks down the erasure of queer black women into epistemic, material and
symbolic nature.
The above sources will assist this study to identify gaps in queer studies in relation to African
literature and to address shortcomings. This study will be different from the above-mentioned studies
because it will give a detailed African perspective about queer theory and how it can be applied in a South
African context through analysis of the selected fiction. The results will show that queer people are as
normal as heterosexuals and that human beings should not be defined according to their sexual orientation
and gender identity, but the value they bring to the society.
Synopsis of the Novel Bengithi Lizokuna
Bengithi Lizokuna, by Nakanjani Sibiya, which can be loosely translated as ‘I Thought It Would
Rain,’ is a novel of a first of its kind in isiZulu literature as topics around queerness are rarely written
about in South African indigenous literature according to the knowledge of the researcher. The story and
the events in the novel are centered on the main character, Mhlengi (Mhlengi will be used in this chapter
to refer to Mhlengi before becoming a transgender woman), who is later known as Mahlengi (Mahlengi
will be used in this chapter to refer to Mhlengi after transitioning to a transgender woman). Mhlengi’s
assigned sex at birth was male but the gender he identified with was female, he later changed his sex to
match his gender and thus became a transgender woman with the new name, Mahlengi.
Before the transition, Mhlengi broke up with his girlfriend, Nontobeko, without providing any
reason and also confessed to his father, Ngidi, that he was gay, and the news did not sit well with him.
Ngidi was in disbelieve, disgusted and shocked of the disclosure that led him to reject and chase away his
son. Mahlengi continued to live her new life and was later in a romantic relationship with two men at the
same time without both of them knowing that they were sharing the same girlfriend. Mahlengi’s main
boyfriend was Ndumiso, and she cheated on him with Xolani, who was married to Lungile. After some
time, Ngidi and Nontobeko went out on a search to look for ‘Mhlengi’ who, to their disbelieve and shock,
learnt that he had transformed and had a new sexual orientation and gender identity. This revelation also
took Xolani by surprise because he also found out about the news when he went to see Mahlengi on the
same day that Ngidi and Nontobeko were with her.

Analysis of Bengithi Lizokuna

The following sub-sections entail an analysis of Bengithi Lizokuna and will discuss topics such as
Mhlengi’s name change, Ngidi’s heteronormative nature towards Mhlengi, how Mhlengi performs
gender, the coming out and not coming out of Mahlengi, assumptions about Mhlengi as a queer person,
and the assumed curse brought by Mhlengi for his queerness.
From Mhlengi to Mahlengi
In this section we will look at Mhlengi’s name before and after transitioning, and the importance
of personal names amongst transgender people. Erickson-Schroth and Jacobs (2017: 30) see a personal
name in many cultures denoting a person’s gender and that humans are conditioned from any early life to
associate a certain name with masculinity or femininity, depending on the spelling of that name. The same
can be said with the African culture regarding child naming. Name giving is a particularly important
cultural practice amongst African people, as names are not only used to identify an individual but also
carry significant meanings and aspirations that parents may have for their new-born. At the same time, a
name given to person does not mean that they may accept it or even like it, especially if that name does
not define who they are or does not match the gender they identify with. Having a name that does not
match your gender identity happened with Mhlengi when he changed his name to Mahlengi.
Mhlengi is typically a masculine name amongst the amaZulu people and Mhlengi decided to
change it to Mahlengi in order to make it sound feminine and denote his new identity. The changing of
Mhlengi’s name took place after he had a gender reassigning surgery. It is also worth mentioning that the
name Mhlengi comes from the verb, hlenga, which means to help the helpless or to save someone’s life.
Mhlengi’s birth helped relief his parents from the distress of struggling to have children and they were
saved from being a childless couple (see Sibiya, 2006: 11). Erickson-Schroth and Jacobs (2017: 30)
further explain the importance of name change in transgender people as follows:
Adopting a new name and new pronouns is a central part of transition. The move from birth name
to preferred name is about altering both how we think of ourselves and how we expect others
to view us; the new name is a reflection of who we were, and who we hope to become. The
choice can be a positive affirmation and a statement to one’s world that we, as individuals,
have made the decision upon our own authority to pursue a different course for our existences
than those anticipated by our family and society. It is an act of empowerment.
The above quotation relates to Mahlengi, as the change to a new name had to show that she had
transitioned from being male, erased the attributes that were attached to Mhlengi and had also left her past
behind to establish a new life that shows who she has always wanted to be. Mahlengi’s changed name
gave her power to be a complete woman and to be addressed as one because had she not changed her
name, she could have been mistaken for a man.
The prefix ‘-ma- ‘, according to Doke and Vilakazi (1964: 473), is used to form compound nouns,
generally noun class 1a proper names, indicating ‘the daughter of’ applied to married or ‘lobolaed’
woman”, for example: uMaMhlongo (the daughter of the Mhlongo clan. When used as a noun, ‘-ma’
means “my own mother (variant of umame, used only of one’s real mother)” (Doke and Vilakazi: 473).
The ‘Ma-‘ found in the name Mahlengi may not necessarily mean ‘daughter of Hlengi’ of ‘mother
Hlengi’ but based on the explanations given, the term ‘ma’ carries a feminine meaning, and this explains
the reason to change Mhlengi as a name. Mhlengi had to be changed to Mahlengi so that Mahlengi could
be addressed as a female just by looking at her name.
Even though a name change may be positive, affirmative, and empowering to the one who has
transitioned to another gender, it can be jarring and confusing to adjust to a new name to those who have
known them by their birth name for a long time (Schroth and Jacobs, 2017: 31). This is seen in Bengithi
Lizokuna when Ngidi is confused after finding his transitioned ‘son’ and tries to introduce himself and the

ones he is with to Xolani: “Mina nginguNgidi, uyise kaMhlengi… kaMahlengi. Lona nguNontobeko
owayethandana noMhlengi, …” (Sibiya, 2006: 137) (I am Ngidi, the father of Mhlengi… Mahlengi. This
is Nontobeko, Mhlengi’s former girlfriend, …).
The way Ngidi addresses his ‘son,’ shows that he is not only confused but also grieving his son’s
pre-transition gender and the name associated with it and now he has to suddenly deal with his child who
has now become a ‘daughter’ with a new name that she gave herself. Erickson-Schroth and Jacobs (2017:
31) further elaborate that this situation requires patience and that the affected transgender needs to
understand that families are gradually transitioning as well. It is also possible that the name, Mhlengi,
meant a lot to Ngidi and the wishes he had through that name, but now he has to make peace with parting
with his child’s old identity for a new one.
Another challenge regarding name change, and not to leave out gender marker change, faced by
transgender people is doing it legally through the Department of Home Affairs where Identity Documents
are obtained. Name and gender marker change can be a lengthy (between three and twelve months) and
daunting process, especially if the applicant is less privileged and sometimes serviced by an insensitive
official when it comes to gender issues (Mahlatse, 2020). For Mahlengi, it was different because she came
from a well-off family, she was able to bypass the time-consuming process of applying for a name and
gender marker change by bribing one of the Home Affairs Officials. The bribe that Mahlengi had to offer
in order to speed up the process of being finally identified as a woman, highlights the state of corruption
done by some South African government’s employees in the departments, which has become worse in the
writing of this thesis. Below, is a narration on how Mahlengi got her new Identity Document:
Yebo, imali kayiluthezi olumanzi. Nakuyena kwakube njalo, ikakhulu ngenkathi sekufanele abe
nepasi elisha nezinye izinto eziningi ezisemthethweni. Wavele wakhipha imali eshisiwe,
wamthola umabhalane kwaHome Affairs owamlungisela konke. Okunye-ke kwaba wubala nje
ukukwenza, owayedinga ukugwazelwa wayenikwa imali avale umlomo, kuphele ngetswayi.
(Sibiya, 2006: 15)
(Yes, money makes things happen. It was the same with her, especially when she had to
have a new Identity Document and many other legal documents. She took out a hefty sum of
money and found a Home Affairs clerk who arranged everything for her. Other related items were
simple to do, officials who needed to be bribed were given money to keep quiet, and things went
smoothly.)
Even though it was not detailed in Bengithi Lizokuna, after Mahlengi got her new identity
documents, there are definitely several other changes that she had to make and explain herself to people
about her new identity. Amongst others, this may have included changing academic qualifications, bank
accounts, insurance policies and other important documents. This may have taken a lot of emotional toll
on her as she may have had to frequently correct those who knew her as a male to now address her as a
female.
Changing your name and gender marker is only a part of being transgender and usually comes at
the end, the most important stage is the gender-affirming surgery and hormonal therapy. The process of
being transgender does not only require funds for the surgical procedure but one should be also
emotionally, mentally, and physically strong. The patient should have patience to wait for a long time
before the surgery and hormonal therapy can finally take place. The following narration explains what
Mhlengi had to go through before she could become Mahlengi:
Okwakuyinkinga yikho nje ukuthi kufanele kulindwe isikhashana ngaphambi kokuba kuqinisekwe
ngokuthi konke obekuzanywa kuphumelelile… Konke lokhu kudinga isineke, ukubekezela
nokuzimisela ukulinda izinyangana ezithile ngaphambi kokuba kubonakale ngempela ukuthi
konke kuhambe ngendlela enemiphumela efanele nebilindelwe... Kayisho lutho le mali enkulu
kangaka okufanele ayikhokhe, aseyiqongqobezele kanzima isikhathi eside kangaka, enza

isiqinisekiso esikhulu sokuthi akasabenzisi imali kayise… Yebo usazokhandleka emoyeni,

engqondweni nasemzibeni. Kodwa kakusho lutho kuyena konke lokhu kukhandleka
asazokwedlula kukho ngaphambi kokuwela enkululekweni.
(The only problem is that they (Mhlengi and the surgeon) have to wait for a while to make sure
that all attempts that were going to be made are going to be successful… All of that requires
patience, perseverance, and determination to wait for certain months before they can actually
see that everything goes well with the expected results ... The hefty sum of money that he has
to pay means nothing to him, which he has struggled to gather for a long time, he made sure
that he does not use his father's money… Yes he will be drained emotionally, mentally, and
physically. But all this draining that he will go through means nothing to him if he will attain
his freedom.)
(Sibiya, 2006: 2)
The narration above shows that Mhlengi wanted to be proud that he did not bother his father to
assist him financially in order to be able to finance the gender reassignment surgery. He wanted to do it
all by himself so that he could be a confident transgender who was not indebted to anyone to finally living
his dream of being a transgender woman. Even though transitioning to a transgender was a smooth
process for Mhlengi because he had all the resources, it is actually an incredibly challenging process for
an ordinary individual living in South Africa. Jeranji (2021), reports that gender reassignment surgery and
hormone therapy can cost hundreds of thousands of Rands in the private health sector (as it was with
Mhlengi) versus the public health sector, which is normally free, but requires a sacrifice of up to 25 years
waiting period that has no guarantee of a successful surgery.
Jeranji (2021), further explicates that most people who would like to transition to another gender
cannot afford expensive private health costs and relying on the public health means that they have to
spend about a lifetime living in a body they do not want to be in. This highlights the huge gap we have in
South Africa between the rich and the poor. It also shows that transgender people cannot fully enjoy their
gender rights unless if they have money for surgery and maintaining their transitioned bodies. The long
waiting period for those who cannot afford private health may make them feel like being transgender is
only for the wealthy and the government is not showing full support for their gender rights, hence the
long waiting periods.
Mahlengi’s transitioning seemed to have had less complications involved but there were some
levels of uncertainty. The narrator described it as follows:
Babonana nodokotela ababezomhlinza… Kwakuzolandela i-plastic surgery eyayizosiza
ekuguquleni ikhala, izihlathi, isilevu, njalo njalo, kubukeke njengomuntu wesifazane.
Kwakufanele asebenzise nama-hormones athile ukuze kumile amabele nezinye izibucu
zomzimba ezivame kwabesifazane. Ekugcineni wayezohlinzwa-ke kugulwe isitho sobulili
sesilisa senziwe esesifazane, kokunye kuhlinzwe negilo ukuze iphimbo lakhe kube ngelomuntu
wesifazane ngempela. Eyi, kwakukuningi nje okwakufanele kwenziwe, okuningi kungekho
siqiniseko ngempela ukuthi kuyophumelela…
(Sibiya, 2006: 14)
(He had an appointment with the surgeon… It would be followed by plastic surgery that would
help to alter the nose, cheeks, chin, and so on, to look like a woman. He also had to use certain
hormones to grow breasts and other body parts that are common with women. Eventually, he
had to undergo surgery to change male genitals into female genitals, and in some cases,
undergo surgery to make his voice more feminine. There was just so much to do, without
being sure about its success…)
The above description shows that gender-affirming surgery is not a painless process, it is a high-
risk procedure that can have adverse side effects if not life threatening, but luckily for Mhlengi everything

went well. Mhlengi also had to fly from Durban to Cape Town for his gender-affirming surgery (Sibiya,
2006: 14). This meant that Mhlengi wanted to establish a new life in an unfamiliar environment far away
from the people who knew him in order to avoid being cast-off and backlashed by his society for his
chosen identity. It is also possible that Mhlengi chose to do the surgery in Cape Town because, after
Johannesburg, Cape Town is the second largest city known for celebrating gay pride marches and this
would have influenced Mhlengi’s decision. Liam (2020), reports that in 1993, Cape Town celebrated its
first gay pride march where about 200 non-heteronormative individuals and non-homophobic supporters
marched in the streets of Cape Town. Liam (2020) adds that the purpose of the event was to demonstrate
pride in gay and lesbian identity, and to decriminalise homosexuality in South African law. Today gay
pride march events take place all over South African major cities.
Having events such as gay pride marches take place in urban areas, instead of rural areas, also
shows that a place of residency matters to gender-nonconforming people when it comes to expressing
their gender. In relation to Mhlengi, whose birth home is in Southbroom (mentioned in Sibiya, 2006: 8), a
coastal village in KwaZulu-Natal, being in a city like Cape Town meant that he could be gender liberated.
Mamba’s (2020: 70) research, undertaken in one of the villages in KwaZulu-Natal, reveals the following
about non-heterosexuals people in rural areas:
…non-heterosexual people in rural communities undergo severe abuse, are called by offensive
names, physically and sexually assaulted, disowned by their families, gang raped and isolated.
The consequences of the ill treatment being that non-heterosexuals in rural areas remain in the
closet to avoid being judged and discriminated. They also hide their same sex partners and
some relocate to cities where homosexual people are accepted.
The above extract shows that a culturally conservative community, that strongly follows their
traditions and customs, would do anything to protect their way of life from any ‘presumed’ threats such as
having non-heterosexuals in their area. Mhlengi’s true gender expression would have suffered in such an
environment and would have been attacked for not conforming to the traditional gender binary (falling
into the category of male or female but not both or other).
Ngidi’s Heteronormativity
In this section we look at what Ngidi’s expectation of his son, Mhlengi, are as a man who was
raised in a heterosexually dominated society. Warner (1991), who coined the term heteronormativity,
describes it is a system of norms that constructs heterosexuality as natural and superior than other
expressions of sexuality. Devor and Haefele-Thomas (2019: 56-57) sum the heteronormative belief
system as follows:
 Sex is an intrinsic biological characteristic. There are two and only two sexes: male and female.
Everyone is either one sex or the other. Normally, no one can be neither; no one can be both.
 Genders are the social manifestations of sexes. There are two and only two genders: men and
women (boys and girls). All males are supposed to be either boys or men. All females are
supposed to be either girls or women. Everyone is supposed to be one gender or the other.
Normally, no one can be neither; no one can be both.
 Gender role styles are culturally defined expressions of sex and gender. There are two main
gender role styles: masculinity and femininity. Normally, males are heterosexual and
masculine men, and females are heterosexual and feminine women.
 Any variation from these patterns is caused by biological or mental pathology.
The above beliefs show that being queer in a predominant heterosexual society comes with its
own challenges whether you have disclosed your sexual orientation and gender identity or not, and that
being queer is seen as some form of abnormality. Just before Mhlengi came out, his father thought that he
was a straight man who was expected to get married and have children, once he reached a certain age in

adulthood. This is what Ngidi had done in his entire life and was socialised to think that every man should
get married someday to a woman. This is seen in the novel when Ngidi is excited to show the farm that he
had bought for his son and expresses his wishes as follows, “Usukhulile manje, sekufanele uganwe.
Kokunye umkakho uyothanda yena ukuba ngumlimi.” (You have grown now, you should get married. On
the other hand, your wife may enjoy being a farmer) (Sibiya, 2006: 11).
As Mhlengi has been gifted a whole farm by his father, he becomes distressed and wonders how
he will disclose to his father that he is gay. Before Mhlengi could come out to his father, these were
Ngidi’s pre-conceived thoughts about what his son is about to tell him “Uzwa enethenjana nje lokuthi
mhalwumbe indodana ifuna ukumtshela ukuthi isifuna ukuganwa” (He has little hope that maybe his son
wants to tell him that he wants to get married) (Sibiya, 2006: 12). This shows that Ngidi had been long
wondering if his son was dating because Mhlengi had never introduced him to his girlfriend and thought
the time had come for his son to break the news. The narrator further expresses Ngidi’s thoughts as
follows:
Kungenzeka yini ukuthi lo mfana emncane kangaka usenze amacala? Angambulala nya. Kodwa
hhayi, udlala ngomfana wakhe, usekhulakhulile. Empeleni ukuba kusekuqala nje ngabe
ushadile manje. Usuke engasemncane umuntu oseqede ethekhnikhoni, oseneminyaka emibili
esebenza.
(Could it be that this young man has done something wrong (impregnated a lady)? He (Ngidi)
would kill him (Mhlengi). No, he is just kidding about his son, he is grown up a little. In fact,
if it were back in the days, he would be married by now. You are no longer regarded as young
when you have graduated from technikon (today known as a university of technology), and
already working for two years.)
(Sibiya, 2006: 30)
The above excerpt shows that in a heterosexual society, it is common to expect a man to start his
own family and Ngidi shares similar desires of seeing his son transition from a boy to a man. Mhlengi can
only be regarded as a ‘real’ man once he is married and has children of his own according to traditional
isiZulu culture.
On another occasion, when Ngidi meets Mhlengi’s former girlfriend, Nontobeko, who he had
never met before, he strangely addresses her as his daughter-in-law even after learning that she was no
longer with his son. This behaviour continues to demonstrate the obsession and desperation Ngidi has of
seeing his son married and it is shown in following dialogue:
“…Ngisafuna ukushayela ekhaya ngizwe ukuthi kuhamba kanjani emsebenzini, ngikwazi
nokuhleba ngomakoti wakwami.” Esho ehleka eyibuka intokazi eyayilokhu iyinhle nanxa
yayisenezimpawu zokukhathala.
("… I want to go outside to call home and hear how things are going at work, and be able to
gossip about my daughter-in-law." He laughed and looked at the young woman whose beauty
kept glowing even though she had signs of fatigue.
(Sibiya, 2006: 86)
It remained a challenge for Ngidi to accept that his son did not identify as a heterosexual. That
brought him shame and embarrassment because, in Bengithi Lizokuna, Ngidi could not even tell
Nontobeko that the real reason for his conflict with Mhlengi was that he came out as gay. Ngidi felt that
he would lose respect and dignity from the society for raising a man who turned out to be the opposite of
him – being a gender nonconformist (of a person not adhering to society’s expected masculine of
feminine gender norms).

Mahlengi’s Gender Performativity

Gender performativity is a term that was coined by Judith Butler in the book, Gender Trouble:
Feminism and the Subversion of Identity, which was originally published in 1990. On the Big Think show
on Youtube, Butler explains gender performativity in simple terms as follows:
“It’s one thing to say that gender is performed and that is a little different from saying gender is
performative. When we say gender is performed we usually mean that we’ve taken on a role
or we’re acting in some way and that our acting or our role playing is crucial to the gender that
we are and the gender that we present to the world. To say that gender is performative is a
little different because for something to be performative means that it produces a series of
effects. We act and walk and speak and talk in ways that consolidate an impression of being a
man or being a woman.”
(Big Think, 2011)
The explanation above gives the idea that gender is socially constructed and that one learns how
to become the gender that relates to their sex as taught by the society. For example, males are raised by
the society to become boys/men and will learn masculine gender roles until it is internalised. For females,
they are raised to be a girls/women and will learn feminine gender roles until it is internalised as well. At
the same time, it does not mean that all males and females will internally identify themselves as men and
women as they grow; on the contrary, they will discover that the sex they were born with does not match
the gender that the society assigned to them.
In Bengithi Lizokuna, it is shown that heteronormativity can lead to gender performativity. As
Mhlengi was born in a society that only recognises a relationship between a man and a woman, he
practised gender performative and gave the impression that he was a straight man as he was born male,
and he engaged in a relationship with Nontobeko. Mhlengi suppressed his romantic feelings of being
attracted to the same sex as him so to please the societal expectation of seeing him with an opposite sex
and be regarded as a ‘masculine man.’ If Mhlengi had initially done the opposite on the onset, being in a
relationship with the same sex and showing feminine characteristics as a man, he would have risked being
rejected by the society, labelled as mentally ill and morally wrong.
As discussed in Chapter 2 and shown above, the main argument on gender performativity is that
your gender is determined by one’s behaviour in relation to the sex they were born with according to the
standards set by the society, which may be the opposite of how an individual sees themselves (Butler,
1999: 173). Butler (1999: 173), continues to say that gender is a performance made to satisfy societal
expectations and not the true representation of an individual’s gender identity. Just because Mhlengi was
born male, it does mean that his sex automatically determines him to have masculine behaviour, that is
merely what the society has constructed, and he learnt to conduct himself according to that construction
and not how he felt internally.
Mhlengi’s relationship with Nontobeko did not last because he could not live for too long without
being true to himself. Mhlengi had to be honest to the gender he identified with so that he could start
living his true life, even though it hurt Nontobeko as she thought that he was a straight man. Taken and
adapted from Erickson-Schroth and Jacobs (2017: 22), it is also possible that Mhlengi decided to
transition because that would have made him “normal” and ensure that traditional gender binary and
heteronormative social roles were maintained, which he had a challenge with before transitioning.
Mhlengi could now be a transgender woman instead of pretending to be a cisgender heterosexual
(having a gender that corresponds to the sex assigned to at birth) man attracted to women and he could
now be able to be in a relationship with another man without being frowned upon by the heterosexual
society. At the same time, it is important to emphasize that Mhlengi’s reasons to become a transgender
were not only for engaging in sexual relationships, but he became transgender in order to align his gender

with the sex he felt comfortable with. In the following extract, the narrator elaborates on Mhlengi’s
decision to finally become a transgender woman.
Wayesesithathile isinqumo uMhlengi Ngidi. Empeleni wayekade asithatha, eminyakeni eminingi
edlule. Umehluko nje namuhla ngukuthi wayesenqume ukwenza okuthile okuphathekayo
mayelana nesinqumo sakhe. Kwakumcacele ngempela ukuthi kwakungasekho ukuphindela
emuva. Nanxa ayengawungabazi umqansa owawumgqolozele emehlweni, wayezizwa
ekhululekile ngaphakathi. Ekugcineni ayesezofezeka amaphupho akhe eminyaka. Ekugcineni
wayesezokhululeka, aphile impilo okwase kuyiminyaka ayilangazelela.
(Mhlengi Ngidi had already made the decision. He had long taken it, many years ago. The only
difference today is that he decided to do something tangible about his decision. It was
noticeably clear to him that there was no going back. Although he had no doubt about the
challenge that was staring at him in the eyes, he felt at peace from within. His dreams of many
years were about to come true. He was finally free, and could live the life he had longed for.)
(Sibiya, 2006: 1)
The narration above shows that Mhlengi went through gender dysphoria, which Hakeem (2018:
20) explains as “a sense of dissatisfaction or unhappiness with one’s gender”. Mhlengi was unhappy that
he was born male and did not identify with the masculine gender that was assigned to him at birth. He
wanted to change from being a man to a woman so that he could have eternal peace and have a feminine
gender that always felt right to him.
3.3.4 Mhlengi Comes Out
One of the toughest decisions that queer people have to take is to disclose their sexual orientation
and gender identity to family and friends. The disclosure can free the queer person to start being who they
are but are uncertain as to how those who will be confessed to will react. The reaction my affect the
confessor in either a positive or negative way. In their analysis of coming out as transgender, Brumbaugh-
Johnson, and Hull (2019: 1) reveal that:
…coming out as transgender requires navigating others’ gender expectations, others’ reactions,
and the threat of violence. The results indicate that transgender individuals do not simply
decide to “come out of the closet” and then stay out. Rather, they make strategic decisions
regarding the enactment of gender and gender identity disclosure based on specific social
contexts. Coming out as transgender is best conceptualized as an ongoing, socially embedded,
skilled management of one’s gender identity.
The above quotation relates to how Mhlengi had to choose carefully who they wanted to come
out to and had to protect himself from the unexpected and unkown reaction. Mhlengi was faced with the
challenge of having to come out to everyone he had a close relationship with. Keenan (2019: 2), says that
coming out can be risky as those being disclosed to can react negatively, such as being hostile, bullying,
harassing, discriminating or even causing physical harm. Mhlengi had been thinking about his gender
identity for an exceptionally long time and had always wanted to transition from male to female and the
time had come for him to make it known to his father that he identified as gay. When Ngidi finally heard
the news, these were some of his responses:
“Yini lena ongihlolela yona?”

(What kind of omen is this?)
…

“Phuma uphele lapha emzini wami.”

(Get out of my house and never come back.)
…
“…ngizokhipha isibhamu ngikusakaze ubucopho…”
(I will take out my gun and blow off your brain.)
(Sibiya, 2006: 13)
The above verbal attacks from Ngidi clearly show that he was unprepared for what his son was
about to tell him and did not react appropriately. This reaction was due to being overwhelmed by feelings
of anger and confusion. Coleman (2010: 06), makes us understand that at the ‘coming out stage’,
acknowledgement from a parent, let alone acceptance, can take a long time as the parent will have to go
through the grieve of losing the wishes they had had for their child. This is the same grieve that Ngidi
would have had to go through before he could make peace with his son’s new gender identity. Ngidi had
to come to terms with accepting life-changing moments such as that his son would never be married to a
woman, he would not have grandchildren and that the Ngidi surname would not grow. If Ngidi had
reacted positively, Mhlengi could have continued to also disclose that he also felt he was born in the
wrong body and was planning to transition to a body he was content with.
Mhlengi was not only faced with coming-out as gay but was also challenged with coming out as a
transgender woman (Mahlengi), which the present researcher has termed as ‘double coming-out.’ It was
the first time when Mhlengi came-out indirectly to his former girlfriend, Nontobeko, and the current
boyfriend, Xolani, who knew him after transitioning, but it was the second time that Mhlengi had come-
out to his father now as a transgender. Disclosing the gender that you identify with and the sex you find
attractive to those close to you is straining as it comes with a lot of mental and emotional distress if it is
not well received. The following illustrate some of the reactions of Nontobeko and Xolani when they
found out that Mahlengi had become a transgender woman:
“Yeka ukukuthanda kwami Mhlengi wami,” kubalisa uNontobeko.
“Mahlengi, yini lena ongenza yona? Awu, yeka ukukutha…” Abihlike naye uXolani, kudlange
izinyembezi, lubuye lonke usizi lwakhe, akucabange konke okungamathemba namaphupho
ekusasa eliqhakazile abezitshela ukuthi libalindele noMahlengi wakhe.”
(“I regret loving you, my Mhlengi,” said Nontobeko.
“Mahlengi, what are you doing to me? Well, I regret loving… " Xolani also burst into tears, tears
welling up in his eyes, thinking of all the hopes and dreams of a brighter future he had in store
for himself and his Mahlengi.")
(Sibiya, 2006: 137)
Nontobeko and Xolani’s disappointment on the revelation of Mhlengi’s/Mahlengi’s gender
identity demonstrates that much of the sexual attraction they had for Mhlengi/Mahlengi was based on
his/hers’ gender and felt betrayed once they learnt that Mhlengi’s/Mahlengi’s gender identity was the
opposite of the one that was presented to them. Nontobeko had no idea that Mhlengi identified with the
female identity even though he was assigned male at birth and Xolani had no idea that Mahlengi was born
male and later had his male sex altered to a female sex. Both Nontobeko’s and Xolani’s attraction towards
Mhlengi/Mahlengi was based more on the gender identity that was portrayed to them other than being
attracted to his/her inner being that is detached from his/her sexual orientation and gender identity. If
Mhlengi/Mahlengi was unconditionally loved, and not loved for what he is, his/her sexual orientation and
gender identity would not have mattered as that would have not changed who he/she was as a human
being.

The narrator further describes Mahlengi’s state of mind and emotions after her loved ones found
out about who she actually was:
“Waphuma ebhocobele, kuqhaqhazela amadolo, kumnyama amehlo, engangabazi nakancane
ukuthi lolu sizi abhekene nalo manje luzomgubuzela, lumgwinye, lumminzise …”
(He came out lethargic, his knees trembling, his eyes darkened, and he had no doubt that the grief
he was now experiencing would overwhelm him, engulf him, drown him ...).
(Sibiya, 2006: 137)
What happened to Mahlengi, as described in the above narration, are symptoms of mental illness
that the queer community sometimes goes through, and which often leads to suicidal ideation. Harmer et
al (2021) clarify suicidal ideation as “a broad term used to describe a range of contemplations, wishes,
and preoccupations with death and suicide. This may have been the beginning of Mahlengi’s suicidal
thoughts, and it would have been interesting to see how she would have handled her mental distress
moving forward. Ong et al. (2021: 8), note that “sexual minorities are more prone to chronic stressors
related to their gender identity; in other words, the internalisation of negative social attitudes
compromises the mental health and well-being” of queer people and this relates to Mahlengi’s life when
the novel ends. It is interesting to note that Mahlengi’s mental distress did not begin at the end of Bengithi
Lizokuna, it was also exposed in the beginning of the novel when she was still Mhlengi. In the following
passage, the narrator describes Mhlengi’s anxiety before he came out to his girlfriend:
Nebala wabuka iwashi esihlakaleni, waqonda esibukweni, wathi ukuzibuka. Ubuso bakhe
babubhalwe ukukhathazeka, bungachachambile njengasemihleni. Amehlo lana ayethe
ukushona phakathi, ebomvu, kubonakala nje ukuthi umuntu lona akasabazi ubuthongo
obanele. Nasemzimbeni wayeshayekile, ehwabhekile, kwazise ukuthi ukudla kwakungavumi
neze kulezi zinsukwana ezedlule. Konke lokhu kwakubangwa yixhala nokuthatha ebeka, elwa
namasu okubhekana nezinselelo ezazimgqolozele phambi kwakhe, zinjengezintaba
okwakuzoba umqansa ukuziqombula.
(Indeed he looked at his watch on his wrist, went straight to the mirror, and looked at himself. His
face was marked with anxiety, not as bright as usual. His eyes were sunken, red, and it seemed
that he was not getting enough sleep. He had also lost weight, emaciated, not to mention that
his diet had not improved in recent days. All of this was due to anxiety and frustration, looking
for strategies to deal with the challenges that lay before him, like mountains that would be
difficult to climb.)
(Sibiya, 2006: 2-3)
Mhlengi’s anxiety of coming out to Nontobeko was caused by not knowing how she would have
responded to such devastating news. Mhlengi felt that he betrayed his girlfriend’s trust by making her fall
for him whilst knowing that he was not what she thought he was – a straight man. Nonetheless, it is better
that Mhlengi did not take too long to disclose to Nontobeko, their relationship only lasted for two months
(see Sibiya, 2006: 61), because he would have robbed her of the time, she invested in their relationship
which she could have used with a man who was attracted to women.
Did Mahlengi Trick Her Partners?
Transgender people are often seen as deceptive because they may take time to disclose their
gender identity to their partners and at times may choose to even remain silent about it. It does not mean
that they do not want it to be known that they are transgender, but need a safe space and people they can
trust to share such sensitive information. The title of this section, Did Mahlengi Trick His Partners? is not
meant to be a direct question that will have a direct answer but rather a rhetorical question used to
establish a discourse on the coming out of transgender people who are in a relationship with reference to
Mahlengi. In Bengithi Lizokuna, Mahlengi did not disclose her gender identity to her boyfriends,

Ndumiso and Xolani, she did however, show interest in disclosing to Xolani. The following is Mahlengi’s
thoughts on the questions she had on how Xolani would react after finding out that he was actually dating
a transgender woman:
Umbuzo onzima nokho ngowokuthi njengoba esesangene kanjena nje, uXolani angathini nje uma
engase ezwe indaba yokuthi ekuqaleni wayengumuntu wesilisa, wahlinzwa, wagcina
eseshintshile esewumuntu wesifazane omuhle osanganisa abantu bancamele ukushiya
amakhosikazi.
(The most puzzling question is how Xolani will react since he is so madly in love, what will he say
when he discovers that Mahlengi was initially a man, underwent surgery, and then turned into
a beautiful woman that makes men fall for her and leave their wives.)
(Sibiya, 2006: 123)
The above question that Mahlengi asked herself does not only concern her partner’s realisation of
her gender identity but shows the fear she has of losing a loving partner such as Xolani. It is common for
the unknowing partner to dissolve the relationship with a transgender person after they disclose their
gender identity. Erickson-Schroth and Jacobs (2017: 49), note that finding out someone is transgender can
cause an inability to prevent oneself from killing them, which they term as ‘trans panic’ or ‘gay panic’.
Looking at Mahlengi’s other boyfriend, Ndumiso, and judging from his violent behaviour3, it is possible
that he may have physically harmed Mahlengi if she had come out of the closet to him and thus resulting
to a crime of passion. Erickson-Schroth and Jacobs (2017: 51), also explain the lack of a positive response
from a straight man once he learns about the gender their partner actually identifies with:
When a heterosexual cisgender man is angry about a transgender woman not disclosing her
history, it is because the man fears what it would mean to admit that he was attracted to her.
Because the man fears social judgment from his peers and the implication that he might be gay,
and because transgender people’s identities are often not honoured, cisgender men can suffer
shame and ridicule for the possibility that they could be attracted to someone who currently has
or ever had [male genitals]. It only remains an attack on someone’s masculinity to be attracted
to someone with [male genitals] if being gay is stigmatized.
The above quotation shows that heteronormativity is learned and society has conditioned humans
to only accept a relationship involving a cisgender heterosexual couple. Other relationships that do not
include a straight man and a straight woman are stigmatised. Had it not been for that stigma, it is possible
that a relationship that involves a transgender person and cisgender heterosexual would continue even
after the disclosure because it would have been based on unconditional love that looks beyond the
physical attributes of a person.
Another tricky part about being transgender is not knowing when the perfect time is to come out
to your partner as it comes with the fear of jeopardising the relationship, as previously discussed.
Erickson-Schroth and Jacobs (2017: 50), expound that disclosing too soon may not give someone ample
time to know you holistically and at the same time, waiting for too long may lead to feelings of duplicity.
Given that timeframe is not given in the novel, Bengithi Lizokuna, it is challenging to figure out how long
Mahlengi had been with her boyfriends, but it can be determined by looking at the stages of her
relationship with Ndumiso and Xolani. Before the police apprehended Ndumiso, he was preparing to
gather funds to pay lobola for Mahlengi, which may indicate that they had been dating for a while, but
3 There are several incidents in the novel that portray Ndumiso as a violent man such as speaking and acting towards Mahlengi
aggressively when he was asking them why they seemed absent minded in their interaction (Sibiya, 2006: 43), beating up
Xolani when he found out that he was seeing his partner, Mahlengi (Sibiya, 2006: 70). He was also the perpetrator of the house
robbery that happened in Ngidi’s that cost the life of his groundsman (Sibiya, 2006: 109-113).

Mahlengi had not yet revealed that she is a transgender woman. It is possible that Mahlengi was
uncomfortable and still navigating her way around coming out of the closet.
Looking at Mahlengi and Xolani’s relationship, one can tell that it was still in the courtship phase
as they were still getting to know each other and going out on dates. Even though their relationship had
just begun, Mahlengi had found the courage to come out as she felt more safer with Xolani, and she had
more chemistry with him compared to Ndumiso. Mahlengi could not find the appropriate time to disclose
as Xolani was too excited on the day of their last date and she did not want to burst his bubble.
Coming out as a transgender is a daily struggle and makes transgender’s lives difficult because
they continue to fight for being who they are in a world where they are most likely to be rejected once
their gender identity is exposed. There is never a right or wrong time for those who do not identify with
the gender they were assigned to at birth to come out, it is entirely up to them to let others know once they
feel comfortable and they should not be labelled as deceptive and seen to be tricking their partners for not
sharing their past.
Some Myths and Facts about Mhlengi as a Queer Person

In this section, we debunk certain myths with facts regarding how queer people are perceived in
society with reference to Mhlengi. Myth in this section refers to “something that people wrongly believe
to be true” (Rundell, 2002: 937) and should not be confused with the other myth that refers to “an ancient
traditional story about gods, heroes, and magic” (Rundell, 2002: 937).
Being Gay is a Lifestyle Choice
It is common for those who are narrow minded about sexuality to think that if one is non-
heterosexual, it is because that is a choice they have made. Batavia and Iniguez (2021), debunk the myth
that one chooses to be gay as follows:
Sexuality is not a choice, that is how the person is born. Like we do not choose to be heterosexual,
people do not choose to be homosexual, bisexual, or pansexual. No one chooses to be gay, as
much as no one chooses to be straight. Similarly, counselling or therapy cannot change
someone’s sexuality. This sort of counselling, generally referred to as "conversion therapy",
increases the likelihood of depression, anxiety, drug use and suicide...
In Bengithi Lizokuna, when Ngidi and Nontobeko were in search of Mhlengi, they bumped into
one of his former friends, Mandla, who told them that his friendship with Mhlengi ended because of the
new ‘lifestyle’ that Mhlengi had chosen. In the following extracted dialogue, Mandla responds to Ngidi
when asked if he was still friends with Mhlengi:
“Ngizokhuluma iqiniso nje baba. Sase singasebona [abangani], nanxa ngingeke ngithande
ukusisho isizathu esasixabanisa, ngaphandle kokuthi ngisho ukuthi the lifestyle that he had
chosen esikhaleni nje, yayingazwani nami,” esho ebipha kubonakala ukuthi uyayenyanya
namanje le lifestyle akhuluma ngayo.
(“I will just tell the truth sir. We were no longer [friends], although I would not like to say why we
were arguing, except to say that the lifestyle that he had chosen unexpectedly, I did not
condone it,” he said with sorrow, it was clear that he hated the lifestyle he was talking about.)
(Sibiya, 2006: 82)
In the dialogue above, Mandla describes Mhlengi’s queerness as a lifestyle, which is inaccurate
and inappropriate, and the way Mandla was so disgusted, he could not even mention the word ‘friends’
because discovering that Mhlengi was gay became a deal breaker for their friendship. As Batavia and
Iniguez have contended (2021), just like straight people; one does not choose to be queer but is born that

way and there is multiple gender identity and sexual orientation. This multiplicity opposes the traditional
binary of gender identity and sexual orientation that states that there are only two genders (male and
female) and one gender attracts one another.
Mandla continued to tell Ngidi and Nontobeko that Mhlengi’s disclosure hurt him so much that
he had to cancel him from his life. This is shown in the following dialogue:
“Engingakusho nje ukuthi I was hurt kakhulu ngoba ngangimkhonzile umngani wakho.
Kwahlupha khona uma esekhetha ukuba yisi…” azibambe, anikine ikhanda, eneke izandla.
(All I can say is that I was very hurt because I really liked your friend. It bothered me when he
chose to be a… ” holding himself back, shaking his head, spreading his hands.)
(Sibiya, 2006: 83)
The above response from Mandla, shows that he was homophobic towards Mhlengi as he almost
uttered an isiZulu derogatory term for a homosexual known as isitabane, but he contained himelf.
Mandla’s reply also indicates that some people that were once close to a queer person pre-coming-out
often turn their backs on them post-coming-out, and want nothing to do with the relationship they had.
Disclosing the gender you actually identify with should not make people think that you have changed
your inner being and humanity. Human beings should be appreciated for who they are and not what they
are. Mhlengi may have also felt hurt and disappointed because of the rejection he got from someone
whom he thought was his friend and had his back.
Gays are Mentally Disturbed
Another myth about queer people, in the context of gays, which also applies to lesbians, is that
they must be mentally disturbed to be romantically attracted to the same sex. An American scientific
research done by Kinney (2015) debunks this myth and proves that homosexuality is a normal form of
sexual orientation:
The American Psychiatric Association… provide[d]… scientific evidence that
homosexuality is a normal variant of human sexual orientation. The APA noted that homosexuality
per se implies no impairment in judgment, stability, reliability, or general social and vocational
capabilities. Further, the APA urges all mental health professionals to take the lead in removing the
stigma of mental illness that has long been associated with homosexual orientations.
The above evidence relates to Mhlengi because the way he was portrayed in the novel there was
no incident of him having an impaired judgement or lacking any general social capabilities. Mhlengi
could carry out daily activities like any other mentally stable human being such as being a business owner
of a Bed and Breakfast Establishment (see Sibiya, 2006: 18). Unfortunately, people close to him as
portrayed in the novel did not understand Mhlengi. Just like in the research shown above, Mhlengi’s
father followed the stigma that homosexuality is associated with mental illness. After Mahlengi came-out
to his father as a gay person, Ngidi thought that he was insane for not finding women attractive. This is
how the narrator expresses Ngidi’s astonishment:
Nakho-ke lo mfana esekhuluma umsangano angakaze awuzwe ngisho nasemlandweni wokhokho
bakhe. Ukhona kodwa umuntu ophila kahle ekhanda ongathi akazifuni izintombi ezinhle
kangaka ezizalwa imihla namalanga, kunalokho ukhetha ukuthandana nenye insizwa
enjengaye?
(This boy is now talking nonsense that he (Ngidi) has never heard of even in the history of his
ancestors. There is no sane man who would say that they do not want beautiful girls, which are
born each and every day, instead of that, he chooses to be attracted to the same sex as him?)
(Sibiya, 2006: 31)

The above narration also shows that Ngidi thinks his child could be ‘cured’ from being gay by
introducing him to beautiful girls, or to think that being reunited with Nontobeko, would make him
‘correct’ his sexual orientation by showing him how much Ntobeko loves him (as shown in Sibiya, 2006:
62). It is clear that Ngidi is delusional and has not been previously exposed to diverse sexualities as the
narrator mentions that even with his ancestors, homosexuality was something unheard of. Ngidi is also in
denial of his child’s gender identity and thinks that it is just phase that will pass once he comes to his
senses (Sibiya, 2006: 101). This is another myth about queer people that once they are done being queer,
they will be straight again. In fact, Singh (2018: 24) mentions that LGBTQ people have existed around
the world across time and they can explore their sexual orientation and gender identities over their
lifetimes.
Mhlengi Portrayed as a Curse for Being Queer
This section will comment on how queerness has been portrayed as a curse in Bengithi Lizokuna
using three connected scenarios. As mentioned earlier in the study, queer people are often portrayed
negatively in literature written in indigenous African languages and that is not different with Bengithi
Lizokuna. All events taking place in Bengithi Lizokuna are centered and connected to the main character,
Mhlengi/Mahlengi, who is shown to have negatively affected other characters by disclosing or showing
his/her true gender identity to them.
The first example of the curse is when Mhlengi broke up with Nontobeko, who later met with
Nkululeko and became his fiancée. Nontobeko and Nkululeko’s relationship was short lived, as
Nontobeko had not gotten over Mhlengi. This led to Nkululeko’s death as he committed suicide because
of being heartbroken. With this storyline, it is insinuated that had Mhlengi not broken up with Nontobeko,
Nontobeko would not have met with Nkulululeko and he would have still been alive. Mhlengi is
portrayed as being indirectly responsible for Nkululeko’s death.
In the second example, Ndumiso, Mahlengi’s main boyfriend, was apprehended by the police for
the house robbery he committed at Ngidi’s place without knowing that he was actually the father of his
girlfriend. Ndumiso robbed Ngidi off his money because he wanted to pay lobola for Mahlengi. Another
insinuation we find in this sub-plot is that the Mahlengi is blamed for Ndumiso’s actions. Had Mahlengi
continued to be in a relationship with Nontobeko, she would have not met with Ndumiso, and he would
have not committed the crime.
The third example involves Xolani, who had an affair with Mahlengi. Xolani lost his children to a
house fire when he left them unattended to see Mahlengi. In this incident, Mahlengi is also blamed
indirectly for Xolani’s negligence that cost him his marriage and family. It is implied that had Mahlengi
not transitioned to a woman, Xolani would have never met her, and he would have still been with his
family.
Having observed the above-mentioned examples, queerness in Bengithi Lizokuna has not been
portrayed in a positive manner. According to the world of the novel, which also depicts the real world,
queer people are seen as a group that should be not accepted in by society as they are seen as an
abomination and a threat to human life, which is not true. Any human being, regardless of their gender
identification, can be a threat to another human’s life. It was in very few instances, if there was any,
where Mhlengi/Mahlengi was portrayed positively as a queer person in the novel, and this could show
that society still needs to be sensitised and educated to accept diverse sexual identities.
Conclusion
This chapter gave a queer reading of Bengithi Lizokuna and challenged notions of
heteronormativity imposed on Mhlengi/Mahlengi. Mhlengi’s homosexuality and Mahlengi’s
transgenderism were portrayed from a heterosexist point of view and the novel showed that being queer is

a gender identity that is unwelcomed, taboo and received with hatred amongst heterosexual African
people. This could be a resultant of having queerness as a niche in isiZulu literature and it shows that
there is a desperate need to portray queer people positively so that the queer community can feel safe and
not be afraid to be who they are in societies they live in. Queer people would be preferred to tell queer
peoples’ lived experiences and this applies to isiZulu literary works about queerness.
The other characters’ reaction on Mahlengi’s gender identity in the chapter has shown that
education about gender and sexuality needs to be introduced from an early age in schools so that families,
friends, and the community at large can be sensitized and open to sexual diversity. More research on
creative works has to be done in Africa regarding queerness, transgenderism in particular, and it must be
accessible on various kinds of platforms. It must be understood that not all individuals are born in a body
that matches their gender identity, as shown with Mhlengi, and that they have to be given a right to seek
medical intervention to alter their sex, should the need arise, so that it matches the gender they identify
with.
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Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna1

University of Johannesburg, South Africa

Keywords: Queer; Sex; Gender; Transgender

Asexual and Others (LGTBQIA+) community.

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 1

Ntuli’s (2009) MA dissertation, IsiNgqumo: Exploring Origins, Growth and Sociolinguistics of

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 2

Luttig’s (2014) Master’s dissertation; Depictions of Queer Female Characters in Contemporary

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 3

Synopsis of the Novel Bengithi Lizokuna

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 4

Analysis of Bengithi Lizokuna

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 5

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 6

isiqinisekiso esikhulu sokuthi akasabenzisi imali kayise… Yebo usazokhandleka emoyeni,

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 7

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 8

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 9

Mahlengi’s Gender Performativity

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 10

“Yini lena ongihlolela yona?”

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 11

“Phuma uphele lapha emzini wami.”

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 12

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 13

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 14

Some Myths and Facts about Mhlengi as a Queer Person

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 15

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 16

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 17

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 18

Liam, K.J. 2020. History of Pride in South Africa. Available at:

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 19

Njilo, S. B. 2014. Ucwaningo Ngokuvezwa Kwabalingiswa Abanemizwa Yobulili Obufanayo Ezincwadini

Sibiya, N.G. 2006 Bengithi Lizokuna. Pietermaritzburg: Shuter & Shooter.

Gender Transitions: An Analysis of NG Sibiya’s Novel, Bengithi Lizokuna 20

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