This paper reflects on Kanakana Yvonne Ladzani’s use of poetry to vanguard women’s images and voices. The paper further considers how, apart from articulating the significance of her role as a poet, Ladzani also comments authoritatively on how women are perceived in society. The paper employed the qualitative approach and purposively selected five poems from Ladzani’s three poetry anthologies. Undergirded by the theory of feminism, the analysis appreciated Ladzani’s literary vision of women empowerment. In the analysis of the selected poems, it was argued that Ladzani prefers positive female portraitures over negative ones. It was also argued that Ladzani aims to prod women to move from the margins to the centre of gender discourse through her poetry. In its conclusion, the paper appreciated Ladzani’s poetry as an essential mode of agency through which the Vhavenḓa women may make their voices heard in the contemporary space.

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This article analyses Vonani Bila’s selected poetry for its ability to produce an ‘air of reality’. The central argument of the article is that Bila embraces an aesthetic of realism, which essentially values unsparing, accurate and sordid representations of the psychological, social and material realities of postcolonial (and democratic) South Africa. Undergirded by the Marxist theory of Social Realism, the qualitative approach and descriptive design, this article purposively selected ten poems from some of the anthologies in which Bila published his poetry, namely; Magicstan Fires, Handsome Jita and Sweep of the Violin. Bila’s poetry can best be situated within the historical contexts that shape his texts, namely; the apartheid era, ideas about capitalism in newly democratic South Africa, the emergence of a vibrant immigrant community in South Africa and idealised notions of achieving equality and prosperity through education in South Africa. This article is mainly a critical analysis, and not a historical account of the apartheid era and democratic dispensation of South Africa. In the analysis, it was noted that Bila’s poetry generally manifests the literary categories of social and psychological realism, respectively. As a social realist, Bila explores the problems of economic inequality and captures the experience of both rural and urban life in a post- and neo-colonial context of South Africa. As a psychological realist, on the other extreme, Bila is concerned with delving beneath the surface of social life to probe the complex motivations and (un)conscious desires that shape his literary personae’s perceptions. The article concludes with the notion that, in his commitment to document the realities of everyday life in South Africa, both at social and psychological dimensions, Bila offers a penetrating insight into the repression, alienation, marginalisation, instabilities, and inequalities that structure post- and neo-colonial South Africa.