Dube Train Short Story By Can Themba
The young thug represents the toxic, predatory subculture born out of the despair of the townships. Stripped of dignity, legal rights, and economic mobility by the apartheid state, individuals like the tsotsi turn their frustrations inward, brutalizing their own community. He embodies a nihilistic violence that thrives on the helplessness of others.
The train groaned in, doors sliding open with a mechanical sigh that was almost human in its weariness. We did not walk into that carriage. We were poured. Like sorghum porridge from a pot. A woman with a bundle on her head—a parcel of sadness wrapped in bright shweshwe —did not choose a seat. The seat chose her. She landed upright, miraculously, her neck a pillar of patience.
To understand "The Dube Train," one must first understand its author. Daniel Canodoise "Can" Themba was a brilliant, fiery light of South Africa's literary scene, inextinguishable even in the face of a brutal system. Dube Train Short Story By Can Themba
This victory launched his career as a journalist and writer for Drum , where he became one of the famous "Drum Boys" – a group of literary giants that included Henry Nxumalo, Bloke Modisane, and Lewis Nkosi. For this group, the motto was "Live fast, die young and have a good-looking corpse". Through investigative journalism, Themba and his colleagues courageously exposed the brutal realities of apartheid, often at great personal risk. His Sophiatown home, known as "The House of Truth," was a salon for writers, musicians, and thinkers, but the forced removals and destruction of Sophiatown in 1955 devastated him. Faced with the relentless oppression of the apartheid state, which drove him to alcoholism, Themba eventually went into exile in Swaziland, where he died in 1968 at the age of 43. His work was banned, and he was even declared a "statutory communist" by the regime. His writing, however, has outlived his oppressors, and he was posthumously awarded the Order of Ikhamanga in Silver for his immense contribution to South African literature and journalism.
The trains today in Johannesburg (the modern Gautrain or the crumbling Metrorail) are different, yet the same. The grind of the morning commute, the tired eyes, the shared silence—Themba captured the universal human condition of the worker. But in his hands, the Dube Train becomes a chariot of dignity, hurtling through the night toward a dawn that, though delayed, was inevitable. The young thug represents the toxic, predatory subculture
The story is narrated in the first person by a young black man, likely a commuter just like the author himself. He boards the morning train at Dube Station on his way to Johannesburg, entering the always-packed and sour-smelling "third class" compartments—the only carriages black South Africans were permitted to use during apartheid. The atmosphere is tense and crowded, setting the stage for an impending explosion of violence.
The story asks a difficult question: who is truly responsible for the evil on the train? The tsotsi is the perpetrator, but the silent, passive crowd is complicit. By turning a blind eye, they enable the violence. The applause at the end is particularly cynical: people are eager to support a winner, but unwilling to take any risks to ensure justice is done. It’s a powerful critique of a society where public morality has collapsed under the weight of fear. The train groaned in, doors sliding open with
Then the trembling started. Not the train—the people. A shudder passed through the carriage. A woman shrieked. The young man dropped his briefcase. A cascade of curses, whispers, and the sharp slap of a palm against a thigh.
His writing was characterized by a deceptively jaunty tone that often concealed a profound self-lacerating cynicism, an essential survival mechanism under apartheid. His work, including “The Dube Train,” is not just fiction; it is an act of investigative journalism, a gritty, firsthand report from the frontlines of a secret war.
The tension reaches its breaking point when the tsotsis physically throw the man off the moving train.
If you enjoyed this analysis of Can Themba’s work, explore his collections, such as "The Will to Die," and discover the other Drum writers—Nadine Gordimer, Lewis Nkosi, and Bloke Modisane—who chronicled the golden age of South African journalism.
