By Christopher Heywood
Christopher Heywood surveys consultant South African poems, performs and prose works in 5 literary traditions: Khoisan, Nguni-Sotho, Afrikaans, English, and Indian. Heywood's choices contain over a hundred authors and chosen works--covering poetry, theater and prose. Explored within the context of crises resulting in the formation of recent South Africa, South African literature emerges from this learn as one of many nice literatures of the trendy global.
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Christopher Heywood surveys consultant South African poems, performs and prose works in 5 literary traditions: Khoisan, Nguni-Sotho, Afrikaans, English, and Indian. Heywood's decisions contain over a hundred authors and chosen works--covering poetry, theater and prose. Explored within the context of crises resulting in the formation of contemporary South Africa, South African literature emerges from this research as one of many nice literatures of the trendy international.
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Additional resources for A History of South African Literature
60–1). Orally preserved reverberations from the rise and fall of the Zulu kingdom persist to the present. An extensive Shaka literature is dominated by attempts to salvage the hero of history from the literary cobweb spun by Mofolo in his novel Chaka (1931). The legend persists in modern poems, plays, and novels by Herbert Dhlomo, Benedict Vilakazi, and in Mazisi Kunene’s The Emperor Shaka the Great (1979). Lord Raglan’s observations on the royal hero, the tempter, and sacrifice in his book The Hero (chaps.
Then I can catch their stories, which float out from a distance; and the stories float in from afar . . and I long to be back in my world, to be talking to my fellow men’ (Bleek, p. 300). Longing for his people and their stories, and sensing their presence in his exile, Kabbo relates: I sit silent. I must wait listening behind men, while I listen along the road, while I feel that my name floats along the road; they (my three names) float along to my place; I will go to sit at it; that I may listening turn backwards with my ears to my feet’s heels, on which I went; while I feel that a story is the wind .
Bleek, pp. 303–5) Kabbo invokes his thoughts in exile at the Cape Town Breakwater prison, where he and his family broke stones for the construction of new docks that were subsequently superseded and have been converted recently to a tourists’ pleasure resort. His inspired, Goethe-like expression in liberation appears in the portrait by Schr¨oder that forms the frontispiece to Bleek and Lloyd’s Specimens. Photographed as a prisoner (Bleek, p. 452), he shows utmost dejection and resolution. Prophetic of South Africans’ slow release from bondage, the contrast reappears in photographs of Mandela as a prisoner on Robben Island and in liberation (Mandela: cover picture and photo 5 after p.
A History of South African Literature by Christopher Heywood