This essay examines two South African responses to Virginia Woolf’s Mrs Dalloway (1925): Fiona Melrose’s Johannesburg (2017), and Karel Schoeman’s Die noorderlig (published in Afrikaans in 1975). Melrose’s novel patterns character and plot directly on Woolf’s with allusions to her biography and to other reworkings of the text. Schoeman’s performs a less obvious homage to Mrs Dalloway in its exploration of the tensions between politics and poetics and formal engagement with the demands of experimentation and realism. The essay assesses these different modes of response, points to Woolf’s influence beyond the anglophone literary world, and positions Schoeman’s work (in particular) as deserving greater attention from those speaking –and writing about–English (and its inheritances) in South Africa.
本文探讨了南非对弗吉尼亚-伍尔夫的《达洛维夫人》（1925 年）的两种回应：Fiona Melrose 的《约翰内斯堡》（2017 年）和 Karel Schoeman 的《Die noorderlig》（1975 年以南非荷兰语出版）。梅尔罗斯的小说直接以伍尔夫的小说为蓝本塑造人物形象和情节，并引用了伍尔夫的传记和其他文本改编作品。肖曼的《达洛维夫人》对政治与诗学之间的紧张关系进行了探讨，并在形式上满足了实验和现实主义的要求，对《达洛维夫人》表达了不太明显的敬意。文章对这些不同的回应模式进行了评估，指出了伍尔夫在英语文学界以外的影响，并认为在南非讲英语（及其继承）和写英语（及其继承）的人应更多地关注肖曼的作品（尤其是）。
{"title":"“Doing very well in South Africa”: Fiona Melrose, Karel Schoeman, and the Intertextual Afterlives of Woolf ’s","authors":"Andrew van der Vlies","doi":"10.4314/eia.v50i2.2","DOIUrl":"https://doi.org/10.4314/eia.v50i2.2","url":null,"abstract":"This essay examines two South African responses to Virginia Woolf’s Mrs Dalloway (1925): Fiona Melrose’s Johannesburg (2017), and Karel Schoeman’s Die noorderlig (published in Afrikaans in 1975). Melrose’s novel patterns character and plot directly on Woolf’s with allusions to her biography and to other reworkings of the text. Schoeman’s performs a less obvious homage to Mrs Dalloway in its exploration of the tensions between politics and poetics and formal engagement with the demands of experimentation and realism. The essay assesses these different modes of response, points to Woolf’s influence beyond the anglophone literary world, and positions Schoeman’s work (in particular) as deserving greater attention from those speaking –and writing about–English (and its inheritances) in South Africa.","PeriodicalId":41428,"journal":{"name":"ENGLISH IN AFRICA","volume":"55 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139239420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Eva Bezwoda was a prominent poet in the 1960s and 1970s, who contributed to several South African journals, as well as publishing One Hundred and Three Poems in 1973. Her death by suicide three years later seems congruen with the themes and preoccupations of her work, and was a loss to South Africa’s literary culture at the time. Despite critical attention to her work, after her death her legacy seems to have been forgotten, and her poetry neglected. In this article, I outline what is known of her biography, with a focus on her most productive years as a writer, and the development of her career in relation to recurrent motifs, prominent themes, and relevant details from her poems. I consider the critical reception of her work and engage with archival material, including correspondence from the year before her death with Ad Donker and personal responses to her death by Sheila Fugard and Lionel Abrahams.
伊娃-贝兹沃达（Eva Bezwoda）是二十世纪六七十年代的著名诗人，曾为南非多家刊物供稿，并于 1973 年出版了《一百零三首诗》（One Hundred and Three Poems）。三年后，她自杀身亡，这似乎与其作品的主题和关注点不谋而合，也是当时南非文学文化的一大损失。尽管她的作品受到了批评界的关注，但在她去世后，她的遗产似乎被遗忘了，她的诗歌也被忽视了。在这篇文章中，我概述了已知的她的生平，重点是她作为作家最有成就的几年，并结合她诗歌中反复出现的主题、突出的主题和相关细节，介绍了她的职业发展。我考虑了评论界对她作品的评价，并参考了档案材料，包括她去世前一年与阿德-唐克的通信，以及希拉-富加德（Sheila Fugard）和莱昂内尔-亚伯拉罕（Lionel Abrahams）对她去世的个人回应。
{"title":"Flown Away: Eva Bezwoda’s Life, Death and Poetry","authors":"Eva Kowalska","doi":"10.4314/eia.v50i2.4","DOIUrl":"https://doi.org/10.4314/eia.v50i2.4","url":null,"abstract":"Eva Bezwoda was a prominent poet in the 1960s and 1970s, who contributed to several South African journals, as well as publishing One Hundred and Three Poems in 1973. Her death by suicide three years later seems congruen with the themes and preoccupations of her work, and was a loss to South Africa’s literary culture at the time. Despite critical attention to her work, after her death her legacy seems to have been forgotten, and her poetry neglected. In this article, I outline what is known of her biography, with a focus on her most productive years as a writer, and the development of her career in relation to recurrent motifs, prominent themes, and relevant details from her poems. I consider the critical reception of her work and engage with archival material, including correspondence from the year before her death with Ad Donker and personal responses to her death by Sheila Fugard and Lionel Abrahams.","PeriodicalId":41428,"journal":{"name":"ENGLISH IN AFRICA","volume":"2006 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139239410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Among the papers of James Simmons held at the Rose Library of Emory University are nine letters he received from Wole Soyinka as well as one from Soyinka’s British partner, Barbara Dixon, both of whom had been his classmates at Leeds University in the mid-1950s. The letters cover Soyinka’s activities from July 29, 1958, a year after he had graduated from Leeds, until January 13, 1960, just after he returned to Nigeria. During this period Soyinka had worked as a broadcaster for the BBC, been a play reader for the Royal Court Theatre, and a teacher in London schools. He also travelled to Paris seeking employment as a singer. Much of this time he and Barbara were under financial pressure, and their relationship eventually broke up a year after their child had been born. These letters and others like them from later years in his life yield vital information for Soyinka’s future biographers.
{"title":"Some Early Soyinka Letters","authors":"B. Lindfors","doi":"10.4314/eia.v50i2.3","DOIUrl":"https://doi.org/10.4314/eia.v50i2.3","url":null,"abstract":"Among the papers of James Simmons held at the Rose Library of Emory University are nine letters he received from Wole Soyinka as well as one from Soyinka’s British partner, Barbara Dixon, both of whom had been his classmates at Leeds University in the mid-1950s. The letters cover Soyinka’s activities from July 29, 1958, a year after he had graduated from Leeds, until January 13, 1960, just after he returned to Nigeria. During this period Soyinka had worked as a broadcaster for the BBC, been a play reader for the Royal Court Theatre, and a teacher in London schools. He also travelled to Paris seeking employment as a singer. Much of this time he and Barbara were under financial pressure, and their relationship eventually broke up a year after their child had been born. These letters and others like them from later years in his life yield vital information for Soyinka’s future biographers.","PeriodicalId":41428,"journal":{"name":"ENGLISH IN AFRICA","volume":"147 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139240382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper investigates the representation of Central Europe and its hinterlands in selected works by 20th-century South African writers. It pays special attention to Dan Jacobson’s Heshel’s Kingdom about Jacobson’s travel to Lithuania in search of the writer’s “middle-European” patrimony. Drawing on previously unpublished archival records, the study argues that Jacobson’s book merges Central European hinterlands (their histories, identities, landscapes) with South African ones in a radical act of re-mapping both areas. The paper also insists on recognising a distinctive mode of conflating Central Europe and South Africa. This hinternational poetics annuls the existing imperial cartography and builds transnational connections between different hinterlands and their pasts. Additionally, the article demonstrates how the need to “unlearn” imperial history allows for a geographic/spatial overlap between the “heart of the country” and the “core of Europe,” as well as creation of a network of transnational solidarity and implication across nations and ethnicities.
{"title":"South Africa-sur-Nemunas1 : Transnational Hinterlands in Dan Jacobson’s Heshel’s Kingdom","authors":"Robert Kusek","doi":"10.4314/eia.v50i2.1","DOIUrl":"https://doi.org/10.4314/eia.v50i2.1","url":null,"abstract":"The paper investigates the representation of Central Europe and its hinterlands in selected works by 20th-century South African writers. It pays special attention to Dan Jacobson’s Heshel’s Kingdom about Jacobson’s travel to Lithuania in search of the writer’s “middle-European” patrimony. Drawing on previously unpublished archival records, the study argues that Jacobson’s book merges Central European hinterlands (their histories, identities, landscapes) with South African ones in a radical act of re-mapping both areas. The paper also insists on recognising a distinctive mode of conflating Central Europe and South Africa. This hinternational poetics annuls the existing imperial cartography and builds transnational connections between different hinterlands and their pasts. Additionally, the article demonstrates how the need to “unlearn” imperial history allows for a geographic/spatial overlap between the “heart of the country” and the “core of Europe,” as well as creation of a network of transnational solidarity and implication across nations and ethnicities.","PeriodicalId":41428,"journal":{"name":"ENGLISH IN AFRICA","volume":"662 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139240779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Obituary: Matthew Colin Noel Shum","authors":"The Editors","doi":"10.4314/eia.v50i2.7","DOIUrl":"https://doi.org/10.4314/eia.v50i2.7","url":null,"abstract":"No Abstract","PeriodicalId":41428,"journal":{"name":"ENGLISH IN AFRICA","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139241021","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Literary Byways in Duncan Brown’s Finding My Way: A Review Essay","authors":"Dirk Klopper","doi":"10.4314/eia.v50i2.5","DOIUrl":"https://doi.org/10.4314/eia.v50i2.5","url":null,"abstract":"No Abstract","PeriodicalId":41428,"journal":{"name":"ENGLISH IN AFRICA","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139241526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Humour is a useful lens for understanding changes in black South African culture in the mid-twentieth century. Here I explore how three influential African writers–R. R. R. Dhlomo, “Msimbithi the Kitchen Boy” and Casey Motsisi–deployed humour as a medium through which to reflect on social realities in the grim atmosphere of repression and (self-)censorship which distinguished mid-twentieth-century South Africa. While Dhlomo’s trajectory as a humourist after 1943 reflects the reduced aspirations and ambitions of his aging New African cohort, I argue that Motsisi and Msimbithi (perhaps the pseudonym of K. E. Masinga) responded to the challenges of the apartheid era in creative and revealing ways. Msimbithi’s popular and linguistically inventive column called for the renewal of a culturally conservative African identity that could preserve collective dignity in the face of exclusion. Motsisi, on the other hand, through his “Bugs” and “On the Beat” columns, forcefully rejected respectability discourse, simultaneously celebrating and critiquing urban space as a hedonistic and atomizing domain.
幽默是理解二十世纪中期南非黑人文化变化的一个有用的视角。在这里，我探讨了三位有影响力的非洲作家——R。R.R.Dhlomo、“厨房男孩Msimbithi”和Casey Motsisi将幽默作为一种媒介，在20世纪中期南非特有的镇压和（自我）审查的严峻氛围中反思社会现实。1943年后，德罗莫作为一名幽默主义者的轨迹反映了他年迈的新非洲同龄人的愿望和抱负的减少，但我认为，莫西西和姆辛比蒂（可能是K.E.马辛加的化名）以创造性和揭示性的方式应对了种族隔离时代的挑战。Msimbithi广受欢迎且在语言上富有创造性的专栏呼吁更新文化保守的非洲身份，在面临排斥时可以维护集体尊严。另一方面，莫西西通过他的“Bugs”和“on the Beat”专栏，有力地拒绝了体面的话语，同时庆祝和批评城市空间是一个享乐主义和雾化的领域。
{"title":"On the Beat: Black Humour in South Africa, 1943–1963","authors":"Robin K. Crigler","doi":"10.4314/eia.v50i1.3","DOIUrl":"https://doi.org/10.4314/eia.v50i1.3","url":null,"abstract":"Humour is a useful lens for understanding changes in black South African culture in the mid-twentieth century. Here I explore how three influential African writers–R. R. R. Dhlomo, “Msimbithi the Kitchen Boy” and Casey Motsisi–deployed humour as a medium through which to reflect on social realities in the grim atmosphere of repression and (self-)censorship which distinguished mid-twentieth-century South Africa. While Dhlomo’s trajectory as a humourist after 1943 reflects the reduced aspirations and ambitions of his aging New African cohort, I argue that Motsisi and Msimbithi (perhaps the pseudonym of K. E. Masinga) responded to the challenges of the apartheid era in creative and revealing ways. Msimbithi’s popular and linguistically inventive column called for the renewal of a culturally conservative African identity that could preserve collective dignity in the face of exclusion. Motsisi, on the other hand, through his “Bugs” and “On the Beat” columns, forcefully rejected respectability discourse, simultaneously celebrating and critiquing urban space as a hedonistic and atomizing domain.","PeriodicalId":41428,"journal":{"name":"ENGLISH IN AFRICA","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48328323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers Herman Charles Bosman’s memoir, Cold Stone Jug, as an early and influential prototype for the important genre of South African prison literature in the twentieth century. The memoir is attentive to the ways in which the material space of the Benthamite prison dictates social relationships and rituals, and becomes psychologically internalized. The article performs a close analysis of Bosman’s Cold Stone Jug in order to show how the distinctive chronotopes of the prison find expression in narrative form.
{"title":"Bosman’s Cold Stone Jug and the Genesis of the South African Prison Memoir","authors":"D. Roux","doi":"10.4314/eia.v50i1.2","DOIUrl":"https://doi.org/10.4314/eia.v50i1.2","url":null,"abstract":"This article considers Herman Charles Bosman’s memoir, Cold Stone Jug, as an early and influential prototype for the important genre of South African prison literature in the twentieth century. The memoir is attentive to the ways in which the material space of the Benthamite prison dictates social relationships and rituals, and becomes psychologically internalized. The article performs a close analysis of Bosman’s Cold Stone Jug in order to show how the distinctive chronotopes of the prison find expression in narrative form.","PeriodicalId":41428,"journal":{"name":"ENGLISH IN AFRICA","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44145778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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