Summary Through a reading of Moore-King's White Man Black War, this article seeks to demonstrate that white Zimbabwean narratives belong to a heteroglot world, a world of multiple languages, which destabilises the assumed monologism of the white Zimbabwean literary canon. White Man Black War privileges an authorial ideology at the expense of other voices in its pursuit of a single "Truth", something which reflects Zimbabwe's critical tradition that sees coherence in the white Zimbabwean literary canon. This tendency is not only predicated on a fallacy, that monologue is possible, but provides the impetus to relegate other voices and narratives to the margins. Regardless, even where monologue appears to be privileged, it is nevertheless unattainable. By incorporating other voices into its narrative design, even with the intention of containing these voices, White Man Black War is internally destabilised to the extent that its voice(s) become multiple and conflictual. In such a scenario neither the individual text nor the literary archive can be successfully unitary.

中文翻译：

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布鲁斯摩尔金的白人黑人战争中的异语和作者声音的不稳定

总结 通过阅读摩尔金的白人黑人战争，本文试图证明津巴布韦白人的叙事属于一个异语世界，一个多语言的世界，这破坏了津巴布韦白人文学经典的假定独白。白人黑人战争在追求单一“真理”的过程中以牺牲其他声音为代价，赋予作者意识形态特权，这反映了津巴布韦的批判传统，即在津巴布韦白人文学经典中看到连贯性。这种趋势不仅基于一种谬论，即独白是可能的，而且提供了将其他声音和叙述置于边缘的动力。无论如何，即使独白似乎是特权，它仍然是无法实现的。通过将其他声音融入其叙事设计中，即使有意遏制这些声音，White Man Black War 内部也不稳定，以至于它的声音变得多样化和冲突。在这种情况下，无论是单独的文本还是文学档案都不能成功地统一。