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Narrating (Her)Story: South African Women's Life Writing

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Narrating (Her)Story: South African Women's Life Writing Narrating (Her)Story: South African Women’s Life Writing (1854-1948) Lizelle Smit Thesis presented in fulfilment of the requirements for the degree of Master of Arts (English Studies) at the Stellenbosch University Supervisor: Dr Mathilda Slabbert March 2015 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. November 2014 Signed: Lizelle Smit Copyright © 2015 Stellenbosch University All rights reserved ii Stellenbosch University https://scholar.sun.ac.za Bedankings en Erkennings Die Voortreflike Familie Smit (Anna M. Louw): dankie dat ons liefde vir mekaar heilsaam is. Moeksie, “ek skryf na in stof” (N.P. van wyk Louw) was op die badkamerdeur van my jeug geplak, maar dit het nie “in my dofheid dof” geraak nie, inteendeel, my moederstaal is my vaandel. My innige dank vir die pakkies, beskuit, handgeskrewe briefies, huisnuus, ruikertjies, proeflesing en geërfde liefde vir die woord. Vader (die titel is tong in die kies lesers), ABC (Apply Bottom to Chair) is die lewensfilosofie wat ek sal probeer saamdra en toepas lewenslank. Pappa is my reuseboom – met uitspattige pers en oranje blare. Ouers, julle ondersteuning en bydraes, wie julle is, word gekoester. Vir my drie Groot Boeties – Ernst, Jaco en Nico, wat meer as enige ander begryp dat dit skreeusnaaks is dat die Pink Panthers elke keer gebraai moet word in ‘n pan (en die pan nie noodwendig geskik is om ‘n toekomstige kombuismartelaar mee te kweek nie); dat die name Wikkelbeertjie, Wiele en Flappie Een deur tot Sewe meer eienskappe aandui as oulike gestopte speelgoed (bezemebhu!); en dat die Paashaas se nessies deathtraps kan wees in plaas van ‘n offerhande saamgestel uit riet, blom en muurbekruipers. Want julle unieke liefde en trou is onvolprese en my beker loop oor van vreugde en bruis met genot oor die gawe lot wat ons bestem het vir mekaar. Geliefde Gesin: Hy het vir my “die Meetsnoere [...] in lieflike plekke [laat val]”. En ‘n persoonlike naskriffie: Nico, die Goue Beer sal altyd seëvier! Jaco, ek het gepoog, maar kon tot op hede nog nie die Dertigers suksesvol met wortel en tak uitroei nie, hulle het ontkiem in my “teerder jeug” en klou verbete vas in “die hoë wisselgang van [my skrif in] dag en nag”. Ernst, jy en ek weet Jack Reacher sal altyd by ons wees. En dan my fabelagtige en ontembare studieleier, Tilla (wat my ten sterkste afgeraai het om ‘n lang, emosionele bedanking in te sluit). Jou spoedige nasiening, jou deurdagte en deeglike opmerkings sowel as leiding en bodemlose kennis van literatuur het die skryf van hierdie Meestersgraad vir my moontlik gemaak. Tilla, jy is absoluut enig, wonderlik gek en intellektueel onoortreflik. Ek kan jou al klaar hoor sê: Hou op omslagtig wees en kom tot die punt! Ek sal probeer vinnig praat. Ek wil ook graag my ander bloed- en gekose familie bedank: my beeldskone skoonsusters Charine en Hanneke, Ouma en Oupa, die van der Merwes (by naam veral vir Tannie Marelise en Oom Pieter), Theronne, Mosterds en Dentons. Ek is verknog aan almal van julle, weet dat die Stoker (Briels) inderdaad ‘n goeie man was as gevolg van julle en ook glo in die iii Stellenbosch University https://scholar.sun.ac.za verbintenis van bloed- en liefdesbande. Iva Gatha, ’n Skip is [vir] jou Beloof (George Louw), nig. My vriende sowel as gelyktydige akademiese arbeiders – Natasja, Rebecca, Tamsyn, Riaan, Stephan, Grethe, Nicolas en Katherine. Julle het aaneen en geduldig geluister en my daadwerklik verkwik as ek gereed was om tou op te gooi. Kat, mag gemiddeld en normaal nooit genoegsaam of aanvaarbaar word nie. Tash, “deur jou alleen het ek besef” (B.B.) dat landvoëls en skikgodinne saam kan uitspoel. ‘n Spesiale bedanking en erkenning aan Ronel Pretorius. Jy het my begelei en voorsien van die plesierige bladsye van Petronella. En nes Petronella is jy ook ‘n vorstige en formidabele vrou. Ek sal jou nooit genoeg kan bedank nie. Elsabet Smit (my Moeder), dankie vir my bekendstelling aan Rorke en verder ‘n bedanking vir Verbatim boekwinkel wat die waarde van boeke soos King se outobiografie begryp en dus aankoop. Asook wil ek vir Louise Viljoen bedank wat dokumente, briewe en resensies aangaande Petronella van Heerden vergader en vervolgens geskenk het aan die JS Gericke Biblioteek (Universiteit van Stellenbosch). Dankie vir die hulpvaardige personeel by NELM wat vinnig gereageer het en dokumente oor Rorke vir my gestuur het asook die personeel van JS Gericke Biblioteek wat resensies en dokumente van oorsee af vir my bestel het. Die Universiteit Stellenbosch wil ek ook graag bedank vir my deeglike akademiese opleiding voorgraads en nagraads asook vir die beurs; sowel as Elsabet en Nicolaas Hendrik Smit (my pa) vir hul finansiële ondersteuning. En vir oulaas ‘n bedanking aan die Universiteit Stellenbosch: dat ek toegelaat word om in my huistaal my ‘dankies’ te verwoord. En uiteindelik ‘n effe koddige bedanking vir my drie katte – die baldadige trio Vettie, Poefie en Mankie. Die Bemaanhaarde Viola ViVi Bosbandiet Vlooi wat langs my skootrekenaar gewaak het in die lang nagte en vééls te kort dae. Jakkals FatOne Vetkind Huru wat my getroue bedmaat was al die jare van my M. En dan laaste maar nie die bedeesde, vir Artemis Prime se kranke kattermaai en sirkustoertjies wat ‘n kekkellag van iedereen uitlok. Ek dra hierdie tesis op in herinnering aan Willem Jacobus van der Merwe (my oupa) en Edward Dekker (my Afrikaanse onderwyser). Want Oupa het vir ons twee goed geleer: Niks in die lewe wat die moeite werd is kom sonder ‘n bietjie moeite nie, en alles in die lewe wat ons het is net Genade. En omdat Meneer ‘n ander soort kleur en warmte in ‘n hittige Klein Karoo dorpie verskaf het wat nie dor en gelaaid was soos die Vaal Verlate Vlaktes van die omgewing nie. iv Stellenbosch University https://scholar.sun.ac.za Abstract Seeking to explore modes of self-representation in women’s life writing and the ways in which these subjects manipulate the autobiographical ‘I’ to write about gender, the body, race and ethnic related issues, this thesis interrogates the autobiographies of three renegade women whose works were birthed out of the de/colonial South African context between 1854-1948. The chosen texts are: Marina King’s Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke’s Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), and two memoirs by Petronella van Heerden, Kerssnuitsels (1962) and Die 16de Koppie (1965). My analysis is underpinned by relevant life writing and feminist criticism, such as the notion of female autobiographical “embodiment” (239) and the ‘I’s reliance on “relationality” (248) as discussed in the work of Sidonie Smith and Julia Watson (Reading Autobiography). I further draw on Judith Butler’s concept of “performativity” (Bodies that Matter 234) in my analysis in order to suggest that there is a performative aspect to the female ‘I’ in these texts. The aim of this thesis is to illustrate how these self-representations of women can be read as counter-conventional, speaking out against stereotypical perceptions and conventions of their time and in literatures (fiction and criticism) which cast women as tractable, compliant pertaining to patriarchal oversight, as narrow-minded and apathetic regarding achieving notoriety and prominence beyond their ascribed position in their separate societies. I argue that these works are representative of alternative female subjectivities and are examples of South African women’s life writing which lie ‘dusty’ and forgotten in archives; voices that are worthy of further scholarly research which would draw the stories of women’s lives back into the literary consciousness. v Stellenbosch University https://scholar.sun.ac.za Opsomming In ‘n poging om metodes van self-uitbeelding te bespreek en die manier waarop die ‘ek’ van vroulike ego-tekste manipuleer om sodoende te skryf oor geslagsrolle, die liggaam, ras en ander etniese kwessies, ondersoek hierdie verhandeling die outbiografieë van drie onkonvensionele vrouens se werk, gebore vanuit die de/koloniale konteks in Suid-Afrika tussen 1854-1948. Die ego-tekste wat in hierdie navorsingstuk ondersoek word, sluit in: Marina King se Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke se Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), en twee memoirs geskryf deur Petronella van Heerden, Kerssnuitsels (1962) en Die 16de Koppie (1965). My analise word ondersteun deur relevante kritici van feministiese en outobiografiese velde. Ek bespreek onder andere die idee dat die vroulike ‘ek’ liggaamlik “vergestalt” (239) is in outobiografie, asook die ‘ek’ se afhanklikheid van “relasionaliteit” (248) soos uiteengesit in die werk van Sidonie Smith en Julia Watson (Reading Autobiography). Verder stel ek voor, met verwysing na Judith Butler, dat daar ‘n “performative” (Bodies that Matter 234) aspek na vore kom in die vroulike ‘ek’ van Suid- Afrikaanse outobiografie. Die doel van hierdie tesis is om uit te lig dat hierdie self- voorstellings van vroue gelees kan word as kontra-konvensioneel; dat die stereotipiese uitbeelding van vroue as skroomhartig, nougeset, gedweë ten opsigte van patriargale oorsig, en willoos om meer te vermag as wat hul onderskeie gemeenskappe vir hul voorskryf, weerspreek word deur hierdie ego-tekste. Die doel is om sodanige outobiografiese vertellings en -uitbeeldings te vergelyk en sodoende uiteenlopende vroulike subjektiwiteite gedurende die periode 1854-1948 te belig.
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