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ABSTRACT
If ‘struggle’ is the foundation of the new postcolonial literature and state, ‘the matter of Zimbabwe’ secures unquestioned tenancy to literatures of the folkways of yore. In this article, this false binary is disputed in favour of fusions and continuities. The article discusses the ‘matter of Zimbabwe’ via two Shona song-dramas, whose construction and visions border on the timeless and mythopoetic. The two song-dramas, Chomtengure and Uyo Ndiani, are indeed the epitomes of the indestructibility as well as vulnerability of master narratives of history. The two songs represent the creative possibilities of this tension that ripples through the rather viscous content of the ‘matter of Zimbabwe’.