But where does this leave the madman and the migrant? Neither speak in the genre of nar- rative realism. The madman may present the more dramatic picture; like many of his kind, he is dismissed, by those unfamiliar with his language, as a false prophet, a psychotic whose cos- tume reflects no more than the workings of his own tortured mind. Yet even if he is defined as psychotic, he may nonetheless be the voice of history. Foucault (1967), for one, insists that the insane speak eloquently of their social world. Our madman, of course, uses visual imagery, while the migrant relies on verbal metaphor. But both use poetic expression to offer an authen- tic commentary on the Tshidi past and present. Friedrich (1979:441 f.) has argued that the