One way to examine Head’s novel is through the lens of social criticism. An overarching goal of the text is to dismantle the ideology of tribal discrimination within African society, tracing its origins to the racial prejudice brought to the continent by white European colonizers. The same language and philosophy of oppression used by Europeans to denigrate black Africans is used among certain tribes like the Batswana to discriminate against “lesser” tribes, like the Masarwa. Therefore, one could look at the novel as a criticism of white supremacy and oppression.

From a literary perspective, there are several motifs and symbols worthy of interrogation. The first of these is the use of art. The elder Margaret Cadmore uses a sketchbook to study the world around her, chiefly to criticize and demean people. In contrast, the younger Margaret uses her artistic gifts to express the goodness and beauty in the world around her. Margaret’s portraits serve as a visual record of her hopeful spirit, and thus art becomes the key to Margaret’s awakening as an individual. Maru’s need to collect Margaret’s pictures unbeknownst to her is a reflection of his desire to posses her spirit and earn her love, while Dikeledi’s admiration of them shows the same.

Another interesting pair of symbols in the text are the two goats who become surrogate pets of Margaret’s. Sheba, the white mother goat, and Windshield-wiper, the black kid, could be interpreted to represent multiple things. First, Sheba could symbolize the headstrong and dominant influence of the elder Margaret Cadmore, who fiercely protected and cared for her adopted daughter, even though it was without much affection. Similarly, the mischievous, hyperactive Windshield-wiper could symbolize the younger Margaret, whose animated spirit was simply lying dormant inside her for so long. However, Windshield-wiper also becomes despairing after seeing Sheba slaughtered by their owners. This detail is incongruent with a mother-daughter interpretation of the goats. Therefore, one could argue instead that the goats—who bring joy and excitement to Margaret’s life in Dilepe—represent the changes that will soon happen for everyone. Sheba dies at almost the same moment that Margaret finds out Dikeledi is marrying Moleka, which symbolizes the death of her old hopes that Margaret would one day marry Moleka. Margaret decides to steal Windshield-wiper on the night she leaves town with Maru, symbolizing her new beginning. Therefore, the two goats represent the difference between the old and new life for Margaret.

Finally, the text relies on foils to communicate its themes. Maru and Moleka are foils for each other; while both are dominant “kings,” each man’s approach to matters of life and love is distinct from the other’s. Likewise, Dikeledi and Margaret are foils, although their relationship is not adversarial like the men’s. Head contrasts her characters in pairs to underscore how each individual’s tendencies shape their destiny. While all of these characters have the same primary goal—to assuage their loneliness with the one they love—each of them tries to achieve it through different means. These foils demonstrate how individuality shapes people’s experiences.