English in Africa - Volume 32, Issue 2, 2005
Volumes & issues
Volume 32, Issue 2, 2005
Author Tony VossSource: English in Africa 32, pp 9 –38 (2005)More Less
Fortuitously, or at least with a kind of poetic justice, Roy Campbell's publication of poetry began at the moment at which he left Oxford, having given up the hope of ever attaining sufficient Greek to pass the Responsions examination which would have admitted him as a student of the University. Campbell's first two poems, signed Royston Dunnachie Campbell, were published in the Oxford Chronicle. "Gigue Macabre" appeared in January 1920, paired with Vera M. Brittain's bitter and disillusioned "The Lost Years": the two poems offer complementary, contrasting responses to postwar alienation.
Author Don MaclennanSource: English in Africa 32, pp 39 –52 (2005)More Less
Guy Butler, born in Cradock on 21 January 1918, was a serious poet. Nearly a third of his poems are about death or loss, and many of the rest about parting failure, or difficult self-denial. His poetry is generally thoughtful and responsible to a deep religious vision.
Author Mariss EverittSource: English in Africa 32, pp 53 –67 (2005)More Less
The search for symbiosis, or humankind's ecological atunement with nature, is one of the themes of A Littoral Zone (1991), Douglas Livingstone's final collection of poetry. This article concentrates on the poem "A Tide in the Affairs of Station 18" (1991, 46). Douglas Livingstone (1932-1996) carved a new niche in the South African literary tradition. His poetry does not fit into either the colonial or postcolonial categorisations of English South African poetry.
Does South African literature still exist? Or : South African literature is dead, long live literature in South AfricaAuthor Leon De KockSource: English in Africa 32, pp 69 –83 (2005)More Less
In the mid-1990s I devised an English Honours course for students reading South African literature at Unisa called "Issues in South African Literary Studies." At the time, my feeling was that the object of study was so difficult to grasp cleanly or positively because of its history - a history formed in multiple acts of definitional contestation - that it would be more informative, more conceptually honest, so to speak, simply to ask the following question..
Voices of anxiety and hope : narrative conventions and divergence, and their ideological implications in Charles Mungoshi's Waiting for the RainAuthor Paul CulwickSource: English in Africa 32, pp 85 –105 (2005)More Less
In the thirty years since it appeared, Charles Mungoshi's Waiting for the Rain has continued to justify its early recognition as an important literary text addressing African and post-colonial cruxes.1 Hence it is notable that in many respects the novel is fairly conventional technically and almost indistinguishable from texts from Western 'centres.' The third-person narrative, omniscient but in the main non-intrusive, is so familiar one hardly notices it. Characterisation is conventional too.
'The charlatanism that was our education' : Armah's visionary reconstruction of Pan-Africanist History in KMTAuthor Kwame AyivorSource: English in Africa 32, pp 107 –133 (2005)More Less
This paper focuses on how Ayi Kwei Armah has exploited the multi-millennial history of the indigenous African hierarchical education and racist-motivated alien religion and education foisted upon Africa and its Diaspora since the Pharaonic era as a hermeneutic key in translating his Pan-Africanist five-pronged didactic creative objectives into fictional realism in KMT.
Author Isidore DialaSource: English in Africa 32, pp 135 –154 (2005)More Less
The dialectic between history and myth-making is central in Nadine Gordimer's writing on Nelson Mandela. Deeply fascinated herself by the (South African) myth of Mandela as the Saviour, and even apparently occasionally subscribing to it, Gordimer, in her non-fictional work as in her fiction, consistently seeks to illuminate the circumstances that nurtured the myth, while rigorously privileging history and locating Mandela's significance in the province of politics.
Some thoughts on black male homosexualities in South African writing : Zakes Mda's The Hill and Kaizer Nyatsumba's "In Happiness and in Sorrow"Author Sikhumbuzo MngadiSource: English in Africa 32, pp 155 –168 (2005)More Less
In the conclusion of an essay that appeared in the third number of the twenty-sixth volume of Afterimage: The Journal of Media Arts and Cultural Criticism (1998), in which I considered, mainly, Kobena Mercer's rereading of his reading of Robert Mapplethorpe's photographs of black men, and, to a limited extent, a photograph by the South African photo-journalist, Peter Magubane, of black men lined up naked for inspection before being allowed to take up employment on the farms and mines, I alluded to the view that it would be interesting if a photograph was considered in terms of the multiple effects of meaning that it engenders, rather than as a statement of evidence.
Author Sam RaditlhaloSource: English in Africa 32, pp 169 –184 (2005)More Less
The decolonization of Africa from the yoke of territorial and political oppression has been one of the major shapers of the history of the twentieth century. Nationalism, with its passionate cry for statehood, offered Africans a chance to be makers of their own history, to recapture their agency in socioeconomic, political, cultural and spiritual fields.
Author Cheryl StobieSource: English in Africa 32, pp 185 –211 (2005)More Less
Bisexuality marks the spot where all our questions about eroticism, repression, and social arrangements come to crisis. (Marjorie Garber 1995, 368) The discourse of the body is not a matter of Lawrentian ganglions and suave loins of darkness, but a politics of the body, a rediscovery of its sociability through an awareness of the forces which control and subordinate it. (Terry Eagleton 1983, 215)
Author Litzi LombardozziSource: English in Africa 32, pp 213 –226 (2005)More Less
Zakes Mda has emerged as one of the most powerful South African writers of critical theatre in the past thirty years. He is an exemplar of H. I. E. Dhlomo's ideal African dramatist who "cannot delve into the past unless he has grasped the present ... to do this the African dramatist must be an artist before being a propagandist, a philosopher before a reformer, a psychologist before a patriot" (quoted in Barnett 1983: 228).
Author Tim CouzensSource: English in Africa 32, pp 227 –230 (2005)More Less
I have a friend whose family have a saying that derives from an incident involving the heavyweight boxer Gerrie Coetzee. When he was asked, after being knocked out by a vicious right hook, what counter he had planned against it, he replied, "I saw it coming and thought, oh, oh, here comes trouble." When Isabel Hofmeyr phoned me three weeks ago with a deceptively innocent voice, as soon as she mentioned the word 'festschrift' I thought, oh, oh, here comes trouble.
Author Ashlee LentaSource: English in Africa 32, pp 231 –235 (2005)More Less
Orality: The Power of the Spoken Word is an imaginative study of the dynamics of the evanescent oral communicative moment, and has much to contribute to studies of communication, literature, social anthropology and rhetoric. It investigates the simultaneity of articulation, perception and interpretation that constitutes and informs verbal exchange, and analyses the ways in which oral communication can confirm or redirect our actions and ideas. Central to Furniss's approach is his view that it is primarily through the spoken word that we negotiate (with) one another, inhabit private and public realms, and build moments of consensus that can lead to change.
a.k.a. Breyten Breytenbach : Critical Approaches to his Writings and Paintings, Judith Lütge Coullie and J.U. Jacobs (Ed.) : book reviewAuthor Anton VorsterSource: English in Africa 32, pp 237 –242 (2005)More Less
The Cross Cultures series is an extensive one, currently comprising 77 titles covering a broad spectrum of topics relevant to the post-colonial study of literature, ranging from such general concerns as The Politics of English as a World Language (Volume 65: Christian Mair, ed.) to penetrating studies of the work of individual authors like Wole Soyinka, Mavis Gallant, Wilson Harris, Buchi Emecheta, Margaret Laurence, Eli Mandel, Patrick White, Salman Rushdie, André Brink and J. M. Coetzee.
Douglas Livingstone : A Ruthless Fidelity : The Collected Poems of Douglas Livingstone, Malcolm Hacksley and Don Maclennan (ed.) : book reviewAuthor Margaret LentaSource: English in Africa 32, pp 243 –246 (2005)More Less
Admirers of Douglas Livingstone's poetry have been waiting since his death in 1996 for this volume, the more impatiently because his collections, published between 1960 and 1995, as well as his Selected Poems (1984) are now unobtainable. Lovers of the poetry, people, animals, land and sea of southern Africa must be grateful to the editors, Malcolm Hacksley and Don Maclennan, for producing a handsome and comprehensive edition at a reasonable price.
Author Dan WylieSource: English in Africa 32, pp 247 –251 (2005)More Less
To include in your own book praises sung for you by a man whom you yourself hail as the greatest South African poet ... could come across as fatally self-indulgent. Happily, the izibongo themselves include that affectionately sniping epithet, "bed-bug," the slightly wry, tongue-in-cheek bemusement at the persistence of this tape-recorder-bedecked, red-skinned researcher.
Author Geoffrey V. DavisSource: English in Africa 32, pp 253 –258 (2005)More Less
Haike Frank's book is a doctoral dissertation conceived within a large-scale interdisciplinary research project on "Identities and Alterities" undertaken at the University of Freiburg in Germany. An exemplary piece of work, it bears ample witness to the high reputation that university's English Department currently enjoys in this country.
Writing in Crisis : Ethics and History in Gordimer, Ndebele and Coetzee, by Stefan Helgesson : book reviewAuthor Tamlyn MonsonSource: English in Africa 32, pp 259 –263 (2005)More Less
The crisis alluded to in the title of this work can be read on various levels: the turbulent atmosphere of the 'state of emergency'; the conflict between collective action and literary pursuits as instruments of revolution in South Africa; and the implosive obligation of a literature bound to "engage a received cultural form and deviate from it at the same time" (2).
Representing Dissension : Riot, Rebellion and Resistance in the South African Novel in English, J.A. Kearney : book reviewAuthor Thomas JefferySource: English in Africa 32, pp 265 –268 (2005)More Less
The aim of this book is to explore novelistic representations, by white writers in English, of acts of social unrest during the period 1906-1956. As such, it is not concerned with examining history per se, but rather with the imaginative treatment of historical events in the novels of this period.