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Blame Me on History
The coming-of-age of a black intellectual under apartheid.
Blame Me on History
'Modisane's book, read today by all South Africans, will expose our raw pasts, private and public in their nature, which are still present in many forms as unacknowledged antecedents ... Engrossed and fascinated, I turned the pages of Blame Me on History as fast as I could.' – Njabulo S Ndebele Feeling an exile in the country of his birth, the talented journalist and leading black intellectual Bloke Modisane left South Africa in 1959. It was shortly after the apartheid government had bulldozed Sophiatown, the township of his childhood. His biting indictment of apartheid, Blame Me on History, was published in 1963 – and banned shortly afterwards. Modisane offers a harrowing account of the...
Complicities
DIVA theoretically informed study of five major pro- and anti-apartheid intellectuals, showing the inevitability of complex and compromised positions, and the impossibility of pure ones./div
To Change Reels
With the end of apartheid, South African cinema is at a turning point in its history. This collection offers an exploration of a film industry that has excluded its country's black majority, in both representation and production - and which now must overcome collusion between racist ideology and film form. Until recently, filmmakers could work only within a culture that reluctantly took black South Africans into account. Therefore, to explore what South African cinema has been and could become, the authors do not limit their discussion to film production but approach cinema as a manifestation of cultural history. How has the purpose of cinema been viewed at different times in South Africa, by different governments and social groups? What is the relation between film and a sense of nationhood in South Africa? Such questions lead to a consideration not only of films made by South Africans in South Africa but also of an unfolding film culture within a series of stages that have yet to give rise to a national cinema
Still Beating the Drum
Covers English literature and post/colonial literature in English, in 20th century South Africa.
I Lay This Body Down
Rosey E. Pool (1905–71) did not live an ordinary life. She witnessed the rise of the Nazis in Berlin firsthand, tutored Anne Frank, operated in a Jewish resistance group, escaped from a Nazi transit camp, published African American poets in Europe, operated a London “salon” with her partner, witnessed independence movements in Nigeria and Senegal, and took part in the American civil rights movement. I Lay This Body Down is the first study of Pool and her remarkable transatlantic life. A translator, educator, and anthologist of African American poetry, Pool corresponded, after World War II, with Langston Hughes, W. E. B. Du Bois, Naomi Long Madgett, Owen Dodson, Gordon Heath, and others...
Towards a Transcultural Future
This second collection, complementing ASNEL Papers 9.1, covers a similar range of writers, topics, themes and issues, all focusing on present-day transcultural issues and their historical antecedents: TOPICS TREATED Preparing for post-apartheid in South African fiction; Maori culture and the New Historicism; Danish-New Zealand acculturation; linguistic approaches to 'void'; women's overcoming in Southern African writing; new post-apartheid approaches to literary studies; Afrikanerdom; postmodern psychoanalytic interpretations of Indian religion and identity; transcultural identity in the encounter with London: Malaysian, Nigerian, Pakistani; hypertextual postmodernism; fictionalized multicul...
Black South African Autobiography After Deleuze
In Black South African Autobiography After Deleuze: Belonging and Becoming in Self-Testimony, Kgomotso Michael Masemola uses Gilles Deleuze's theories of immanence and deterritorialization to explore South African autobiography as both the site and the limit of intertextual cultural memory. Detailing the intertextual turn that is commensurate with belonging to the African world and its diasporic reaches through the Black Atlantic, among others, this book covers autobiographies from Peter Abrahams to Es'kia Mphahlele, from Ellen Kuzwayo to Nelson Mandela. It proceeds further to reveal wider dimensions of angst and belonging that attend becoming through transcultural memory. Kgomotso Michael Masemola successfully marshalls Deleuzean theories in a sophisticated re-reading that makes clear the autobiographers' epistemic access to wor(l)ds beyond South Africa.
Writing as Resistance
Writing as Resistance charts the inner workings of apartheid, through the encounters-- imprisonment, exile, and homecoming-- that crucially defined its violent reign and ultimate overthrow. Author Paul Gready demonstrates the transformative nature of autobiographical narrative as resistance in the context of political struggle. This multidisciplinary study addresses a range of important contemporary topics: migration, postcolonialism, globalization, nationalism, human rights, and political democratization, among others. While informed by the work of South African writers-- including Breytenbach, Coetzee, First, Krog, Modisane, and Serote-- and adding to the literature on the apartheid era, this book speaks to all cultures of violence. With this important work Gready sheds new light on the relationship between violence and creativity.
