Pub Date : 2022-01-02DOI: 10.1080/00138398.2022.2055855
J. M. Ong
In her 1925 review of an edited collection of Olive Schreiner’s letters, Virginia Woolf described Schreiner as ‘too uncompromising a figure to be so disposed of’. Prompted by this intriguing comment, this article brings Woolf’s late-1920s writings into conversation with Schreiner’s novels and letters in order to trace personal and textual connections between the two authors. Comparative analysis of Schreiner’s The Story of an African Farm (1883) and Woolf’s To the Lighthouse (1927) and Orlando (1928) reveals similarities and confluences in their novelistic structures, experimental temporalities, allegorical representations, use of natural imagery, and in the central and unifying linear motifs that are used to hold together the novel forms. Additional modernist aesthetic and political links are provided by depictions of sex- and gender-crossing characters in Orlando, The Story of an African Farm and Schreiner’s From Man to Man (1926), as well as by the feminist arguments and role of ‘Shakespeare’s sister’ in From Man to Man and Woolf’s A Room of One’s Own (1929). The article concludes by arguing that ‘Woolf and/on Schreiner’ provides evidence towards a claim for South Africa as a pioneering site of modernist innovation, and thereby contributes to new understandings of the development of global modernisms.
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Pub Date : 2022-01-02DOI: 10.1080/00138398.2022.2055853
Arthur Rose
Abstract This essay takes as its starting point the final scene of H. I. E. Dhlomo’s The Girl who Killed to Save (1935). Ostensibly an account of ‘Nongqause the Liberator,’ the prophet behind the Cattle Killing of 1856–1857, Dhlomo’s play presents ‘not merely a work of historical recovery or a reflection of increasing segregation but also an engagement with the full range of nationalist imaginings at work in the New African era’ (Wenzel 83). In this regard, it is pertinent to recall that a more immediate precursor for the millenarianism presented in the play was the arrest of Nontetha Nkwekwe in 1922 and her death in the same year of its publication. Like Nongqause, Nkwenkwe was a millennialist prophet. Responding to the Spanish Influenza, Nkwekwe’s prophecies eventually provoked the South African authorities to incarcerate and then institutionalize her. Given the increased attention on the influenza as a shaping influence on the modernism of 1922 and after, this essay figures Dhlomo with an expanded global modernism that engages more explicitly with its millenarian correspondents.
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Pub Date : 2022-01-02DOI: 10.1080/00138398.2022.2055856
S. Kostelac
This article examines Fiona Melrose’s Johannesburg (2017), a novel which pays homage to Virginia Woolf’s canonical work of literary modernism, Mrs Dalloway (1925). Yet the Johannesburg of Melrose’s novel is devoid of the transforming cosmopolitanism that characterizes Woolf’s London and which allows for new social relations to be imagined across historically entrenched boundaries. While the implicit comparison between Woolf’s post-war London and post-apartheid Johannesburg finds the latter considerably wanting, Melrose’s novel also reminds us of the limits of Woolf’s fictional imagination, which are, perhaps, most overtly marked by her representation of the servant class. I argue that Johannesburg engages, at one level, in an act of extended literary redress by privileging the perspectives of domestic workers in Johannesburg who continue, after apartheid, to labour in homes and for families that are not their own. At the same time, however, the novel maintains its appeal to a ‘postimperial’ metropolitan gaze by adopting white characters unable to extract themselves from a range of reactive phobias about Johannesburg. The novel, I conclude, thus finds itself caught between the contradictory impulses of revision and reversion; between redressing the representational conventions which entrench historical inequalities and regressing into the tropes which perpetuate our difference and separation.
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Pub Date : 2022-01-02DOI: 10.1080/00138398.2022.2055859
Rick de Villiers
This article takes as its starting point the divergent responses that J.M. Coetzee’s Jesus trilogy (The Childhood of Jesus [2013], The Schooldays of Jesus [2016] and The Death of Jesus [2019]) has drawn from reviewers and scholars respectively. Where reviewers have generally regarded these works’ difficulty as obstructive, scholars have taken their difficulty as both the justification and catalyst for sustained engagement. This divergence is explained, in part, as a consequence of the literacies developed by and in response to modernism – literacies which regarded difficulty as both the signature of the worthwhile artwork and as the criterion which justifies the special attention of specialized readers. If one aim of this article is to situate Coetzee and Coetzee studies within this tradition, a second aim is to ask whether the forms of attention garnered by his late trilogy are less an index of intrinsic challenges than of Coetzee’s reputation as a challenging writer. To do so is to worry the overready ascription of ‘Coetzeean’ difficulty – along with the modes of reading it tends to enlist – in order to reposition bewilderment, embarrassment and other ugly aesthetic-affects as generative for criticism.
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Pub Date : 2022-01-02DOI: 10.1080/00138398.2022.2055854
Michelle Adler
Focusing on the transnational lives of William Plomer (1903–1973) and the artist Edward Wolfe (1897–1982), this paper considers the formative influences of their South African heritage on their creative development, as well as the impact of European modernism on their work. In particular, a connection is made between Wolfe’s immersion in modernism and the Bloomsbury Group, and his subsequent influence on the writing of Plomer’s controversial novel, Turbott Wolfe (1926), including its suppressed homoerotic elements. Finally, the paper argues that Turbott Wolfe is shaped both by Plomer’s liminal position within South Africa’s segregationist colonial culture, as well as by his exposure to a metropolitan modernity marked by waning confidence in the teleology of empire.
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Pub Date : 2022-01-02DOI: 10.1080/00138398.2022.2055852
Rick de Villiers
On 16 June, 1926, the Johannesburg newspaper Rand Daily Mail carried a gloved dismantling of a new literary magazine called Voorslag. In name and in content, this half-crown monthly promised to be at the sharp end of a rising South African avant-garde, all the while keeping touch with the best art abroad. Splendid ideals, a timely intervention – but was Voorslag quite ‘what it should be’ (Millin 43)? The reviewer, Sarah Gertrude Millin, had her doubts. Despite its claims to radical newness, she saw in Voorslag something oddly familiar, derivative even. Its focus was too ‘narrow’. Its philosophy resembled too closely that of certain Anglo-American little magazines. And its editors – Roy Campbell, William Plomer and Laurens van der Post – seemed to endorse a predictable cast of European ‘prophets’ and ‘gods’ (44): the Sitwells, Clive Bell, Roger Fry, T.S. Eliot, Marcel Proust, James Joyce and others. There is neat irony in the fact that Millin’s piece appeared on 16 June, otherwise known as ‘Bloomsday’. Only four years had passed since modernism’s ‘annus mirabilis’ – the year that saw the publication of Ulysses, The Waste Land, and Jacob’s Room, the year that supposedly ‘[broke] the world... in two’ (Cather v) – and already its tenets, methods and proponents were being treated as a known quantity. ‘The fact of the matter,’Millin lamented, ‘is that Voorslag, for all its South African flavour, is a branch of a well-defined overseas group’ (44). An uncharitable reader might be tempted to say the review betrays that ‘grocer’s mentality’ (Gardner and Chapman 4) which Voorslag sought to trouble. It is difficult not to regard Millin’s quibbles as both slight and slighting. It is difficult, too, crediting the idea that modernism was as ‘well-defined’ as her tone of polite boredom would suggest. But despite some hasty dismissals, the novelist’s tacit scepticism about a ‘South African modernism’ is itself not easily dismissed. Could such a movement ever amount to more than a provincial version of its metropolitan model? Could it add anything other than local ‘flavour’ to an apparently European project? Would ‘South African modernism’ ever shake the pincers of the provisional?
1926年6月16日，约翰内斯堡的《兰德每日邮报》（Rand Daily Mail）报道了一本名为《Voorslag》的新文学杂志的拆卸。无论在名义上还是在内容上，这本半克朗的月刊都承诺将成为崛起的南非先锋派的先锋，同时与国外最好的艺术保持联系。美好的理想，及时的干预——但Voorslag完全是“应该的”吗（Millin 43）？评论家Sarah Gertrude Millin对此表示怀疑。尽管它声称具有激进的新颖性，但她在《Voorslag》中看到了一种奇怪的熟悉，甚至是衍生的东西。它的关注点过于“狭隘”。它的哲学与某些英美小杂志的哲学过于相似。该杂志的编辑Roy Campbell、William Plomer和Laurens van der Post似乎支持一批可预测的欧洲“先知”和“神”（44）：Sitwells、Clive Bell、Roger Fry、T.S.Eliot、Marcel Proust、James Joyce等人。具有讽刺意味的是，米林的作品出现在6月16日，也被称为“Bloomsday”。现代主义的“奇迹之年”只过去了四年，这一年出版了《尤利西斯》、《荒原》和《雅各布的房间》，据说这一年“打破”了世界。。。在两个”（Cather v）中——其原理、方法和支持者已经被视为已知数量“事实上，”Millin哀叹道，“Voorslag，尽管有着南非的味道，但却是一个定义明确的海外集团的一个分支”（44）。一个不友善的读者可能会说，这篇评论暴露了Voorslag试图制造麻烦的“杂货商心态”（Gardner和Chapman 4）。很难不把米林的狡辩看作是轻视和轻视。也很难相信现代主义就像她礼貌的无聊语气所暗示的那样“定义明确”。但是，尽管有一些草率的否定，这位小说家对“南非现代主义”的默许怀疑本身并不容易被否定。这样的运动会比其大都市模式的省级版本更重要吗？它能为一个明显的欧洲项目增添除当地“风味”之外的任何东西吗？“南非现代主义”会动摇临时的钳夹吗？
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Pub Date : 2022-01-02DOI: 10.1080/00138398.2022.2055860
R. West-Pavlov
Abstract In this article I argue that Nigerian author Chinua Achebe ostentatiously co-opted Yeats’s poem ‘The Second Coming’ in the title of his 1958 novel Things Fall Apart to mobilize a modernist gesture in order to bookend what is in fact primarily a rehearsal of markers of modernity (realist narration, the structure of the historical novel as defined by Lukács). The latter rehearsal was central to Achebe’s claim for the fully-fledged rationalist character of the Igbo polity and his bid to put his society on a par with European modernity. Crucial to this claim for parity, however, was Achebe’s countervailing manipulation of residual markers of modernism to force a wedge into the monolith of modernity so as to disable those elements of modernity that disqualified African societies from parity with Europe, as against those elements that were desired as offering parity. By the same token, Achebe’s ‘countermodernism’ also foregrounds other versions of history that resonate with global alter-modernisms and thus posits alternative modernities.
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Pub Date : 2021-11-17DOI: 10.1080/00138398.2021.1969103
Kobus Moolman
(2021). The Room. English Studies in Africa: Vol. 64, The Plague Years, pp. 110-113.
（2021）. 这房间。非洲英语研究:第64卷，瘟疫年代，第110-113页。
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Pub Date : 2021-01-02DOI: 10.1080/00138398.2021.1969104
C. Warren
Abstract This paper provides an overview of the representation of outbreaks of infectious disease in South African speculative fiction. The focus is on novels by South African authors (even if some are set in the US) which envision a future plague or pandemic, from AIDS to flu-like viruses to a zombie outbreak. This is not an in-depth analysis of individual texts but a survey of the ways in which future plagues are envisioned, including in young adult fiction and popular fiction.
{"title":"Fever Dreams: Surveying the Representation of Plagues and Pandemics in South African Speculative Fiction","authors":"C. Warren","doi":"10.1080/00138398.2021.1969104","DOIUrl":"https://doi.org/10.1080/00138398.2021.1969104","url":null,"abstract":"Abstract This paper provides an overview of the representation of outbreaks of infectious disease in South African speculative fiction. The focus is on novels by South African authors (even if some are set in the US) which envision a future plague or pandemic, from AIDS to flu-like viruses to a zombie outbreak. This is not an in-depth analysis of individual texts but a survey of the ways in which future plagues are envisioned, including in young adult fiction and popular fiction.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49258748","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/00138398.2021.1969101
E. Bergmann
Abstract In this paper, I analyze whether the COVID-19 crisis might lead to a new wave of neo-nationalism. History teaches that socio-economic crises tend to pave the way for populist nationalists to seize the moment and place themselves as saviours of the people/nation against both an external threat and the domestic elite. In previous research, I detected three waves of nativist populism, emerging into what I call neo-nationalism in the post-war era, each rising in the wake of crisis. The characteristics of the current crisis are in many ways reminiscent of those that have previously led to the rise of nativist populism, which defines much of contemporary politics in the West, and indeed around the world. It is therefore timely to contemplate whether the crisis resulting from governmental responses to COVID-19 might ignite the fourth wave of neo-nationalism.
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