Abstract
Black Hamlet (1937; reprinted 1996) tells the story of Sachs's association with John Chavafambira, a Manyika nganga (traditional healer and diviner), who had come to Johannesburg from his home in Southern Rhodesia (Zimbabwe). Sachs's fascination with Chavafambira was initially as a “research subject” of a psychoanalytic investigation into the mind of a sane “native”. Over a period of years Sachs became inextricably drawn into the suffering and de-humanization experienced by Chavafambira as a poor, black man in the urban ghettoes that were the South Africa of the 1930s and 1940s. It is easy these days to want to dismiss Sachs's “project” as the prurient gaze of a white, liberal psychiatrist. This would not only be an ahistorical reading of Black Hamlet, but it would also diminish the possibilities offered by what Said (1994) calls, a contrapuntal reading. I shall present a reading of Black Hamlet, focusing on the three main characters - Sachs, Chavafambira, and Maggie (Chavafambira's wife) - as emblematic of the social relations of the other, racial(ised) bodies, and gender.
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