The Truth and Reconciliation Commission in Selected Contemporary South African Novels“

Total Page:16

File Type:pdf, Size:1020Kb

The Truth and Reconciliation Commission in Selected Contemporary South African Novels“ DIPLOMARBEIT Titel der Diplomarbeit „The Truth and Reconciliation Commission in Selected Contemporary South African Novels“ Verfasserin Sophia Oester angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2014 Studienkennzahl lt. Studienblatt: A 190 344 353 Studienrichtung lt. Studienblatt: UF Englisch UF Spanisch Betreuer: Univ.-Prof. DDr. Ewald Mengel DANKESWORTE Zu Beginn möchte ich all jenen, die mir im Bezug auf diese Arbeit eine große Hilfe waren und ohne die sie wohl nie zustande gekommen wäre, meinen herzlichen Dank aussprechen. Mein Dank geht an Dr. Dobrota Pucherova, die erstmals mein Interesse an Afrikanischer Literatur geweckt hat, so wie ganz besonders an Univ.-Prof. DDr. Ewald Mengel für die exzellente und unkomplizierte Betreuung meiner Arbeit, seine Anregungen, Beratung und schnelles und detailliertes Feedback, welches mir als besonderer Luxus erschien. Herzlich bedanken möchte ich mich bei meiner Familie, vor allem bei meinen Eltern für all ihre Unterstützung und Ermutigung seit meiner Geburt und besonders während meiner Studienzeit, sowie bei meinem Bruder, dessen ehrliche Kritik und nahezu unerschöpfliche Hilfsbereitschaft ich unglaublich schätze. Unendlich dankbar bin ich auch meinen Freundinnen und Freunden, die mein Leben auf so vielfältige Art und Weise bereichern. Ein besonderes Dankeschön all jenen, die mir während der Schreibphase dieser Arbeit mit Rat und Tat zur Seite gestanden sind, meine oftmalige Verzagtheit geduldig ertragen und mir in den unzähligen Bibliotheksstunden Gesellschaft geleistet haben, was diese zu kostbaren Erinnerungen werden hat lassen. Dankbar bin ich auch Amy Orr-Ewing, MA, deren Bücher und Vorträge mir eine große Hilfe in der persönlichen Auseinandersetzung mit den Fragen nach Recht, Unrecht, Schuld und Wahrheit waren, die diese Arbeit aufwarf. Vor allen andern jedoch, gilt mein Dank dem Gott der Bibel, „der mich geliebt und sein Leben für mich gegeben hat“ (Die Bibel, Galater 2,20) und dem ich alles verdanke. Table of Contents 1. Introduction ........................................................................................................................ 1 2. The South African Truth and Reconciliation Commission ................................................ 2 2.1 Background: The transition from apartheid to majority rule ....................................... 2 2.2 Purpose ........................................................................................................................ 7 2.3 Way of proceeding ....................................................................................................... 9 2.4 Outcomes and consequences ..................................................................................... 12 2.5 Critique ...................................................................................................................... 13 3. Testimony, Truth and the Novel ...................................................................................... 17 3.1 The TRC's understanding of Truth ............................................................................ 17 3.2 The role of testimony in the proceedings of the TRC ............................................... 19 3.3 Testimony, narration and the novel after the TRC .................................................... 27 4. Research questions ........................................................................................................... 30 5. Jann Turner: Southern Cross ............................................................................................ 31 5.1 Summary .................................................................................................................... 31 5.2 The Role of the TRC ................................................................................................. 32 5.2.1 References to the real-life TRC .......................................................................... 32 5.2.2 Metaphors and comparisons used to describe the TRC ..................................... 33 5.2.3 The TRC as a place of emotional catharsis ........................................................ 34 5.2.4 The TRC as a place of acknowledgement and a turning point in South African history………. .................................................................................................................. 35 5.2.5 The TRC and the absence of truth-telling .......................................................... 36 5.3 Attitudes and expectations towards the Commission ................................................ 37 5.4 Southern Cross as part of an international discourse on Truth and Justice ............... 39 5.4.1 Spying and betrayal - Exploring unacknowledged topics .................................. 39 5.4.2 Challenging and doubling TRC’s rhetoric speaking Truth to Reconciliation and national healing ................................................................................................................ 41 5.4.3 Competing with the TRC by revealing more truth than the Commission .......... 43 5.4.4 The processes of telling and learning Truth ....................................................... 44 5.4.5 International dimension ...................................................................................... 44 5.4.6 Ambiguity and complexity ................................................................................. 47 6. Carel van der Merwe: No Man’s Land ............................................................................. 51 6.1 Summary .................................................................................................................... 51 6.2 The Role of the TRC ................................................................................................. 52 6.2.1 The transcript of the amnesty hearing ................................................................ 52 6.2.2 Metaphors and comparisons used to describe the TRC ..................................... 53 6.2.3 The TRC hearing as a place of acknowledgement and a turning point in the protagonist’s life ............................................................................................................... 54 6.2.4 The TRC as a place of encounter between victims’ relatives and perpetrators . 55 6.2.5 The TRC and truth-telling .................................................................................. 58 6.3 Attitudes and expectations towards the Commission ................................................ 60 6.4 No Man’s Land as part of an international discourse on Truth and Justice ............... 63 6.4.1 Challenging and doubling the TRC’s rhetoric of speaking Truth to Reconciliation and national healing ................................................................................. 63 6.4.2 Competing with the TRC by revealing more truth than the Commission .......... 65 6.4.3 The processes of telling and learning Truth ....................................................... 65 6.4.4 International dimension ...................................................................................... 68 6.4.5 Ambiguity and complexity ................................................................................. 69 7. Gillian Slovo: Red Dust .................................................................................................... 71 7.1 Summary .................................................................................................................... 71 7.2 The Role of the TRC ................................................................................................. 72 7.2.1 References to the real-life TRC .......................................................................... 72 7.2.2 Metaphors and comparisons used to describe the TRC ..................................... 74 7.2.3 The TRC as a place of encounter between the victim and perpetrator............... 76 7.2.4 The TRC as a place of recalling and re-enacting the past .................................. 80 7.2.5 The TRC and the absence of truth-telling .......................................................... 83 7.3 Attitudes and Expectations towards the Commission ............................................... 85 7.4 Red Dust as part of an international Discourse of Truth and Justice ......................... 88 7.4.1 Loyalty and Betrayal - Exploring unacknowledged topics ................................ 88 7.4.2 Challenging and doubling TRC’s rhetoric speaking Truth to Reconciliation and national healing ................................................................................................................ 89 7.4.3 Competing with the TRC by revealing more truth than the Commission .......... 91 7.4.4 The processes of telling and learning Truth ....................................................... 92 7.4.5 International dimension ...................................................................................... 94 7.4.6 Ambiguity and complexity ................................................................................. 95 8. Conclusion ........................................................................................................................ 96 9. References ...................................................................................................................... 101 9.1 Primary Sources ....................................................................................................... 101 9.2 Secondary Literature ...............................................................................................
Recommended publications
  • African Freedom Phyllis Taoua Index More Information
    Cambridge University Press 978-1-108-42741-8 — African Freedom Phyllis Taoua Index More Information Index Abani, Chris The Nation Writ Small: African Fictions Graceland, 28, 190, 242–9, 256, and Feminisms, 1958-1988., 18, 19, 282, 293 106 Abrahams, Peter Angola, 215 The Path of Thunder, 111 apartheid, 1, 2, 8, 17, 22, 28, 108, 109, Tell Freedom, 22 110, 111, 112, 113, 114, 115, 116, Achebe, Chinua, 44 117, 119, 136, 157, 159, 160, 193, Anthills of the Savannah, 167 196, 198, 199, 200, 223, 240 Things Fall Apart, 29, 120, 129, 278–81 apartheid state, 1 Adejunmobi, Moradewun popular protest against, 192 “Provocations: African Societies Appiah, Kwame Anthony, and Theories of Creativity” Cosmopolitanism: Ethics in a World of in Rethinking African Cultural Strangers, 261, 283 Production, 20 areas of narrative interest, 16 Adichie, Chimamanda Ngozi expansion of global capital, 16 Purple Hibiscus, 27, 106, 108, 128–35, gender relations, 16 281, 288, 293 introspection and intimate self, 16, 38, Aduaka, Newton 44, 75, 86 Ezra, 254, 263 spiritual realm, 16 African National Congress, 17, 152, 157, the nation, 16, 147–8, 202 158, 159, 160, 192 Armah, Ayi Kwei, 166 post- apartheid challenges, 7 Akan references in novels, 18 African studies The Beautyful Ones Are Not Yet Born, 19, debate about postcolonial theory, 11–13 27, 44, 134, 160–5, 167, 171, 245, African women 248, 293 enter conversation on freedom, 26 critical reception of early novels, 43–5 Agadez Fragments, 26, 45–61, 166, 288 travel to, 11 Fragments and Baako’s nested identity, Ahidjo, Ahmadou,
    [Show full text]
  • Blackbourn Veronica a 20101
    The Beloved and Other Monsters: Biopolitics and the Rhetoric of Reconciliation in Post-1994 South African Literature by Veronica A. Blackbourn A thesis submitted to the Department of English Language and Literature In conformity with the requirements for the degree of Doctor of Philosophy Queen‘s University Kingston, Ontario, Canada (December, 2010) Copyright © Veronica A. Blackbourn, 2010 Abstract This dissertation examines the use of inter-racial relationships as emblems of political reconciliation in South African fiction from and about the transition from apartheid to democracy. Positive representations of the relationships that apartheid prohibited would seem to constitute a rejection of apartheid itself, but through an analysis of novels by Lewis DeSoto, Elleke Boehmer, Zoë Wicomb, Marlene van Niekerk, Ivan Vladislavić, and J.M. Coetzee, I argue that the trope of the redemptive inter-racial relationship in fact reinscribes what Foucault would designate a biopolitical obsession with race as a foundational construct of the nation. Chapter 2 examines an attempt to write against the legacy of apartheid by repurposing the quintessentially South African genre of the plaasroman, but Lewis DeSoto‘s A Blade of Grass (2003) fails to reverse the narrative effects created by the plaasroman structure, implicated as the plaasroman is and has been in a biopolitical framework. Chapter 3 examines Elleke Boehmer‘s rewriting of South African history to insist on the genealogical ―truth‖ of the racial mixing of the country and its inhabitants, but Bloodlines (2000) yet retains the obsession with racial constructs that it seeks to dispute. Zoë Wicomb‘s Playing in the Light (2006), meanwhile, invokes genealogical ―truth‖ as a corrective to apartheid constructions of race, but ultimately disallows the possibility of genealogical and historical narratives as correctives rather than continuations of apartheid.
    [Show full text]
  • Film Review: Red Dust [Univ. of Duisburg-Essen / Filmrezension.De]
    Benjamin Neumanni Benjamin Neumann Review of „Red Dust“ South Africa in Films University of Duisburg-Essen, Dr. Claudia Drawe pubished in cooperation with Düsseldorf 2007 Review of „Red Dust“ 1 Benjamin Neumanni Table of contents 1. Drum: Film review: More than telling Henry`s story 3 2. Film facts 12 3. references 13 Review of „Red Dust“ 2 Benjamin Neumanni Introduction: Red Dust (2004) South Africa some years after the end of apartheid. Three people are returning to the small dusty town of Smitsrivier. From New York comes South African- born lawyer Sarah Barcant (Hilary Swank), from a Cape Town prison former deputy-policeman Dirk Hendricks (Jamie Bartlett) and from the parliament politician Alex Mpondo (Chiwetel Ejiofor). And they all will face their own past... Red Dust first debuted on the cinema screens at the Toronto International Film Festival in September 2004. The main theme of this festival was 'South Africa: Ten Years Later' . At the festival the new arising South African cinema was celebrated and also the tenth anniversary of the new South Africa after the end of apartheid. Ten South African made movies were shown to the audience. Three of these movies got a special screening. Thereby were Red Dust, the movie Yesterday (2004) and Hotel Rwanda (2004). Red Dust was receiving a stunning response by the audience at this festival. Was this response justified or not? Background: The Truth and Reconciliation Commission In 1995, one year after the end of the era of apartheid in South Africa, the Government of National Unity under president Nelson Mandela set up the South African Truth and Reconciliation Commission (TRC).
    [Show full text]
  • Post-Apartheid Cinema: a Thematic and Aesthetic Exploration of Selected Short and Feature Films
    http://dx.doi.org/10.5007/2175-8026.2011n61p225 POST-aPARTHEID CINEMA: A THEMATIC AND AESTHETIC EXPLORATION OF seLECTED SHORT AND FEATURE FILMS Martin P. Botha1 University of Cape Town Abstract The revival in short filmmaking in post-apartheid cinema has thus far received little attention by academic scholars. The article is an attempt to describe, contextualise and analyse the highlights of South African short filmmaking by focusing on thematic and aesthetic developments in post-apartheid cinema. Hundreds of short fiction and nonfiction films have been made in South Africa since 1980. The themes of most of these films were initially limited to anti-apartheid texts, which were instruments in the anti-apartheid struggle. During the late 1980s and early 1990s short filmmakers have also explored themes other than apartheid, for example equal rights for gay and lesbian South Africans. Many short filmmakers have since 1994 experimented with form and aesthetics, as well as various narrative structures, including oral storytelling. Future studies of post-apartheid cinema need to take the revival of short filmmaking in South Africa into account. Exciting directorial voices (male or female, gay or heterosexual, and from various language groups) such as Garth Meyer, Dumisani Phakhati, Willem Grobler, Teboho Ilha do Desterro Florianópolis nº 61 p. 225- 267 jul/dez 2011 226 Martin P. Botha, Post-apartheid cinema: A thematic and aesthetic... Mahlatsi, Justin Puren, Inger Smith, Johan Nel, Nina Mnaya and John Warner hold immense promise for future feature filmmaking in post-apartheid South Africa. Keywords: Post-apartheid cinema, short filmmaking, aesthetics, anti-apartheid texts, oral storytelling, Marginalised communities.
    [Show full text]
  • Redalyc.Post-Apartheid Cinema: a Thematic and Aesthetic Exploration
    Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Botha, Martin P. Post-apartheid cinema: A thematic and aesthetic exploration of selected short and feature films Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 61, julio-diciembre, 2011, pp. 225-267 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348699009 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative http://dx.doi.org/10.5007/2175-8026.2011n61p225 POST-aPARTHEID CINEMA: A THEMATIC AND AESTHETIC EXPLORATION OF seLECTED SHORT AND FEATURE FILMS Martin P. Botha1 University of Cape Town Abstract The revival in short filmmaking in post-apartheid cinema has thus far received little attention by academic scholars. The article is an attempt to describe, contextualise and analyse the highlights of South African short filmmaking by focusing on thematic and aesthetic developments in post-apartheid cinema. Hundreds of short fiction and nonfiction films have been made in South Africa since 1980. The themes of most of these films were initially limited to anti-apartheid texts, which were instruments in the anti-apartheid struggle. During the late 1980s and early 1990s short filmmakers have also explored themes other than apartheid, for example equal rights for gay and lesbian South Africans.
    [Show full text]
  • A Comparative Study of the Construction of Memory and Identity in the Curriculum in Societies Emerging from Conflict: Rwanda and South Africa
    A comparative study of the construction of memory and identity in the curriculum in societies emerging from conflict: Rwanda and South Africa Gail Weldon Department of Education Management and Policy Studies Submitted in fulfilment of the requirements for the PhD (Education) University of Pretoria 2009 The financial assistance of the National Research Foundation (NRF) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at are those of the author and are not necessarily to be attributed to the NRF. © University of Pretoria CONTENTS PAGE 1 Acknowledgements i 2 Acronyms ii 3 Abstract iii 4 Chapter One: Introducing the study: orientation and background 1 Rationale 1 Research focus and questions 3 Framework, perspectives and concepts 3 o What is memory? 4 o What is the link between memory and identity? 9 o How does the memory/identity bond inform this 11 study? The two national contexts for the enquiry 14 o South Africa 15 o Rwanda 19 Legacy of trauma 22 Organisation of the thesis 29 5 Chapter Two: Conceptual framework and research methodology 32 The policy context for this study 32 Conceptual framework 37 o The intersection between vernacular, official and 37 public histories o The power of emotion 39 Data collection 40 o Autobiographical referencing 40 o Historical research 44 o Education document research 45 o Workshops 47 o Observation 48 o Workshop sessions as data-gathering 49 o Interviews and written evaluations 49 o Validation 52 Significance of the enquiry 52 6 Chapter Three: State, curriculum
    [Show full text]
  • Prison and Garden
    PRISON AND GARDEN CAPE TOWN, NATURAL HISTORY AND THE LITERARY IMAGINATION HEDLEY TWIDLE PHD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE JANUARY 2010 ii …their talk, their excessive talk about how they love South Africa has consistently been directed towards the land, that is, towards what is least likely to respond to love: mountains and deserts, birds and animals and flowers. J. M. Coetzee, Jerusalem Prize Acceptance Speech, (1987). iii iv v vi Contents Abstract ix Prologue xi Introduction 1 „This remarkable promontory…‟ Chapter 1 First Lives, First Words 21 Camões, Magical Realism and the Limits of Invention Chapter 2 Writing the Company 51 From Van Riebeeck‟s Daghregister to Sleigh‟s Eilande Chapter 3 Doubling the Cape 79 J. M. Coetzee and the Fictions of Place Chapter 4 „All like and yet unlike the old country’ 113 Kipling in Cape Town, 1891-1908 Chapter 5 Pine Dark Mountain Star 137 Natural Histories and the Loneliness of the Landscape Poet Chapter 6 „The Bushmen’s Letters’ 163 The Afterlives of the Bleek and Lloyd Collection Coda 195 Not yet, not there… Images 207 Acknowledgements 239 Bibliography 241 vii viii Abstract This work considers literary treatments of the colonial encounter at the Cape of Good Hope, adopting a local focus on the Peninsula itself to explore the relationship between specific archives – the records of the Dutch East India Company, travel and natural history writing, the Bleek and Lloyd Collection – and the contemporary fictions and poetries of writers like André Brink, Breyten Breytenbach, Jeremy Cronin, Antjie Krog, Dan Sleigh, Stephen Watson, Zoë Wicomb and, in particular, J.
    [Show full text]
  • Africa's History on Screen
    Introduction x VIVIAN BICKFORD-SMITH & RICHARD MENDELSOHN lack and White in Colour represents a convergence of two historiographical Bstreams: African history and ‘film and history’, the former long established, the latter of more recent origin. The academic study of African history first emerged in the last decades of European colonial rule but accelerated with the coming of independence to the former colonies as the new states sought a ‘usable past’. By the 1970s it was a well-established area of historical study, deeply embed- ded in the academy, with prestigious journals and well-attended conferences. The study of ‘film and history’ got off to a slower start. Though historians occasionally used film as a teaching aid in the classroom, there was a collec- tive scepticism about the value of film as a means of engaging with the past. Pioneering attempts in the 1970s to grapple with film’s possibilities focused primarily on its uses as evidence.1 How might film footage surviving from the past supplement other more traditional forms of evidence – the written word in particular – in broadening historical understanding? How might newsreel film, for example, complement the written record?2 This focus on film as evidence expanded to include fiction films. What might these reveal about the values and preoccupations, the mentalités, of the societies and times in which they were pro- duced?3 What might they tell us of the ideologies that shaped their production? What could we learn, for example, about Nazism from the popular cinema of the Third Reich? What did Hollywood’s science fiction films of the 1950s reveal about Cold War angst? This growing interest in film as evidence emerged against a backdrop of continuing scepticism on the part of historians at large about film, particularly fiction film, as a reliable vehicle for representing the past.
    [Show full text]
  • Impure Memory, Imperfect Justice: a Comparison of Post-Repression
    Impure Memory, Imperfect Justice: A Comparison of Post-Repression Fiction Across the South Atlantic Norma G. Kaminsky A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Cynthia Steele, Chair Laura H. Chrisman Monika Kaup Program Authorized to Offer Degree: Comparative Literature © Copyright 2016 Norma G. Kaminsky University of Washington Abstract Impure Memory, Imperfect Justice: A Comparison of Post-Repression Fiction Across the South Atlantic Norma G. Kaminsky Chair of the Supervisory Committee: Professor Cynthia Steele Comparative Literature This dissertation examines literary representations of—and interventions in—the conflicts between memory, justice, and national reconciliation after authoritarian regimes. I compare fiction written during the democratic transitions following apartheid in South Africa and the military dictatorships in Chile and Argentina in the late 20th century. In my analysis, I consider not only how post-dictatorship fiction approaches historically traumatic events, but also what these novels contribute, both to collective memory and to our understanding of the individual and social dimensions of settling accounts with traumatic recent pasts. The novels studied in depth are: Tony Eprile's The Persistence of Memory (South Africa, 2004), Gillian Slovo's Red Dust (South Africa, 2000), María Teresa Andruetto's Lengua madre (Argentina, 2010), Patricio Pron's El espíritu de mis padres sigue subiendo en la lluvia (Argentina, 2011), and Carlos Franz's El desierto (Chile, 2005). My analysis is developed within two complementary theoretical frameworks: collective memory (especially by Maurice Halbwachs and Pierre Nora), and human rights and their intersections with literature (by Andreas Huyssen, Joseph Slaughter, and Sophia McClennen, among others).
    [Show full text]
  • Themes in the Cinema of Darrell James Roodt
    Themes in the Cinema of Darrell James Roodt By Martin P. Botha Spring 2011 Issue of KINEMA WOMEN ON THE MARGIN OF SOUTH AFRICAN SOCIETY: THEMES IN THE CIN- EMA OF DARRELL JAMES ROODT South African director Darrell James Roodt is one of the most dominant and prolific figures in the South African film industry (Armes 2008: 112), having made a total number of 25 feature films and three television series to date. Surprisingly few academics have devoted chapters in books or doctorate dissertations to his work (Blignaut & Botha 1992; Botha & Van Aswegen 1992; Murphy & Williams 2007; Treffry-Goatley 2010). Roodt’s oeuvre includes some of the milestones in South African cinema since 1980s, as well as genre films such as Dracula 3000 (2004), which received negative notices by critics (Murphy & Williams 2007).This article forms part of an ongoing investigation into the cinema of Roodt and is an attempt to explore some of the major themes in his oeuvre. Darrell Roodt was born in Johannesburg in 1962 and attended the King Edward School. He enrolled at the University of the Witwatersrand to study drama, but left after one week to make films. Early Roodt Roodt’s A Place of Weeping (1986), made at the age of 23, was produced and marketed internationally by Anant Singh, who became one of South Africa’s most prominent film producers. The film deals with racial conflict. A black farm worker is beaten to death by his employer after complaining about hispoor wages. The murder goes unreported since the other labourers fear for their future.
    [Show full text]
  • Memory and History in South Africa After the Truth and Reconciliation Commission
    Spectres of the Untold: Memory and History in South Africa after the Truth and Reconciliation Commission Heidi Peta Grunebaum A dissertation submitted for the degree of Doctor of Philosophy in History, University of the Western Cape, December 2006 DECLARATION I, Heidi Peta Grunebaum, declare that ‘Spectres of the Untold: Memory and History in South Africa after the Truth and Reconciliation Commission’ is my own work, that it has not been submitted for any degree or examination in any other university, and that all the sources I have used or quoted have been indicated and acknowledged by complete references. Heidi Peta Grunebaum 20 December 2006 TABLE OF CONTENTS Acknowledgements i Introduction 1 Methodological concerns, theoretical framings, historical debts 5 Outline of the work 13 Memory and oblivion 19 Chapter One: Temporalities of the “New Nation: The TRC and the Discursive Power of Transition 20 Truth commissions in global time 22 Marking time before narrative 27 Transition management and the law 32 The TRC, a public project 41 A discourse for the nation 45 Keywords and economies of reference: truth… 49 … and reconciliation 56 Mourning and social regeneration 63 Chapter Two: Disembodiments: Testimony, Narrative and the Commodification of Suffering 68 Shoah testimonies and testimonios 71 Testimony as historical narrative 77 Testimony and listening 79 Voice, nation and the “untold” 84 Media and the commodification of pain 91 Unhinging the political 100 Testimonial appropriations 105 Chapter Three: Kept in Place: Memorial Cartographies
    [Show full text]
  • Present Tense: Crime Fiction in Postapartheid South Africa
    Present Tense: Crime Fiction in Postapartheid South Africa Natalie Bess Conyer Doctor of Creative Arts Writing and Society Research Centre Western Sydney University 2020 Acknowledgements Many, many thanks to my supervisors Matt McGuire and Gail Jones for their inspiring and committed guidance, and to other members of the Writing and Society Research Centre, especially Sara Knox and Melinda Jewell. Thanks too to my fellow students at Western Sydney University, in particular Isabelle Li, Yvonne Edgren, Louise Carter and Katie Sutherland, who shared the ups and downs of this journey; and also to my long-suffering friends and family. Special thanks to Hermine Scheeres for reading the exegesis (twice!) and to Alexia Bannikoff for putting up with almost daily whinges. For Present Tense, the novel, thanks to early readers. In South Africa, to Leonard Knipe for sharing his experiences of policing during and after apartheid, and to staff at Cape Town Central Police Station for showing me around. Thanks to Mel Cohen for our great trip to Grabow, for the mojitos, the music, the cooking and the life talks; and to Mike Nicol for his advice and his great novels. And thanks also to Sisters in Crime Australia, without whom I would never have had the confidence to try this in the first place. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution.
    [Show full text]