Read Ebook {PDF EPUB} a World of Strangers by Nadine Gordimer a World of Strangers by Nadine Gordimer

Total Page:16

File Type:pdf, Size:1020Kb

Read Ebook {PDF EPUB} a World of Strangers by Nadine Gordimer a World of Strangers by Nadine Gordimer Read Ebook {PDF EPUB} A World of Strangers by Nadine Gordimer A World of Strangers by Nadine Gordimer. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66144fe93e286449 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. A World of Strangers. We guarantee the condition of every book as it's described on the Abebooks web sites. If you're dissatisfied with your purchase (Incorrect Book/Not as Described/Damaged) or if the order hasn't arrived, you're eligible for a refund within 30 days of the estimated delivery date. If you've changed your mind about a book that you've ordered, please use the Ask bookseller a question link to contact us and we'll respond within 2 business days. Shipping costs are based on books weighing 2.2 LB, or 1 KG. If your book order is heavy or oversized, we may contact you to let you know extra shipping is required. A World of Strangers. A World of Strangers is a 1958 novel by South African novelist and Nobel Laureate Nadine Gordimer. The novel included mixed reviews, drawing criticism for its pedantic explanation of Gordimer's worldview. [1] The novel was banned in South Africa for 12 years. [2] Contents. Adaptation References Further reading. The novel's main plot focuses on depicting the divisions and boundaries that Apartheid and international capitalism create within South African society. [3] The novel thematically focuses on liberalism in South Africa and in the international community. [4] Adaptation. In 1962, a Danish film adaptation of the novel was released under the title Dilemma by Danish film director, Henning Carlsen, and starring Ivan Jackson, Evelyn Frank, and Marijke Mann. The film won the Grand prize at the 1962 Mannheim-Heidelberg International Filmfestival. [5] In the U.K. this film was released under the title A World of Strangers due to an unrelated U.K. crime thriller being released in the same year under the same name. Related Research Articles. Nadine Gordimer was a South African writer, political activist and recipient of the 1991 Nobel Prize in Literature. She was recognized as a writer "who through her magnificent epic writing has – in the words of Alfred Nobel – been of very great benefit to humanity". The Conservationist is a 1974 novel by the South African writer Nadine Gordimer. The book was a joint winner of the Booker-McConnell Prize for fiction. It is described as more complex in design and technique than Gordimer's earlier novels. Burger's Daughter is a political and historical novel by the South African Nobel Prize in Literature-winner Nadine Gordimer, first published in the United Kingdom in June 1979 by Jonathan Cape. The book was expected to be banned in South Africa, and a month after publication in London the import and sale of the book in South Africa was prohibited by the Publications Control Board. Three months later, the Publications Appeal Board overturned the banning and the restrictions were lifted. South African literature is the literature of South Africa, which has 11 national languages: Afrikaans, English, Zulu, Xhosa, Sotho, Pedi, Tswana, Venda, Swazi, Tsonga and Ndebele. July's People is a 1981 novel by the South African writer Nadine Gordimer. It is set in a near future version of South Africa where Apartheid is ended through a civil war. Gordimer wrote the book before the end of apartheid as her prediction of how it would end. The book was banned in South Africa after its publication, and later under the post-Apartheid government. Get a Life is a 2005 novel by the South African writer Nadine Gordimer. The novel tells the story of environmental activist Paul Bannerman and his family. Paul is diagnosed with thyroid cancer and, after surgery and subsequent radiation treatment, has to live quarantined at his parents' place for some time. This significant change in his life also affects his family. The novel received mixed reviews by critics, and departs from other novels by Gordimer as it does not directly deal with Apartheid, instead focusing on the struggle of a single individual. Jillian Becker is a novelist, prize-winning story-writer, critic, journalist and lecturer, best known internationally as a writer, researcher, and authority on the subject of terrorism and a prominent atheist. Mannheim-Heidelberg International Filmfestival , often shortened to IFFMH , is an annual film festival held jointly by the cities of Mannheim and Heidelberg in Baden-Württemberg. The festival was established in 1952. There is a wide range of ways in which people have represented apartheid in popular culture . During (1948–1994) and following the apartheid era in South Africa, apartheid has been referenced in many books, films, and other forms of art and literature. Ronald Suresh Roberts , also known as RSR , is a British West Indian biographer, lawyer and writer. He is best known for his biographies of some of the leading figures in the "New South Africa" such as Nobel Prize winner Nadine Gordimer and former South African President Thabo Mbeki. Roberts has been described by Nelson Mandela as "a remarkable and dynamic young man". He currently lives in London, England. Henning Carlsen was a Danish film director, screenwriter, and producer most noted for his documentaries and his contributions to the style of cinéma vérité. Carlsen's 1966 social-realistic drama Hunger ( Sult ) was nominated for the Palme D'Or and won the Bodil Award for Best Danish Film. Carlsen also won the Bodil Award the following year for the comedy People Meet and Sweet Music Fills the Heart . Acting as his own producer since 1960, Carlsen has directed more than 25 films, 19 for which he wrote the screenplay. In 2006, he received the Golden Swan Lifetime Achievement Award at the Copenhagen International Film Festival. What Happened to Burger's Daughter or How South African Censorship Works is a 1980 collection of essays by South African novelist Nadine Gordimer and others. The book is about the South African government's banning and subsequent unbanning of Gordimer's 1979 novel Burger's Daughter . No Time Like the Present is a 2012 novel by South African writer Nadine Gordimer. It was Gordimer's last published novel during her lifetime. The novel deals with a variety of issues in contemporary South Africa, including unemployment, HIV-AIDS, and corruption. My Son's Story is the ninth novel by South African novelist Nadine Gordimer. It was written towards the end of the State of Emergency and first published in 1990. The very next year, Gordimer was awarded the Nobel Prize in Literature, and the Swedish Academy explicitly cited My Son's Story in their press release, calling it "ingenious and revealing and at the same time enthralling". The Lying Days is the debut novel of Nobel winning South African novelist, Nadine Gordimer. It was published in 1953 in London by Victor Gollancz and New York by Simon & Schuster. It is Gordimer's third published book, following two collections of short stories, Face to Face (1949), and The Soft Voice of the Serpent (1952). The novel is semi-autobiographical, with the main character coming from a small mining town in Africa similar to Gordimer's own childhood. The novel is also a bildungsroman "about waking up from the naivete of a small colonial town." Occasion for Loving is a 1963 novel by Nobel prize-winning South African author Nadine Gordimer. It was her third published novel, and sixth published book. The Late Bourgeois World is a 1966 novella by Nadine Gordimer. The novel follows an egocentric White South African woman, as she negotiates a failing marriage, "half-hearted' love affairs and political intrigue. The novel was banned by the Censorship board in South Africa. A Guest of Honour is a 1970 fictional novel by Nobel winning South African writer Nadine Gordimer. Published four years after her novel The Late Bourgeois World , the novel is a political novel that explores the role of revolutionary ideas in new African states. None to Accompany Me is a 1994 novel by South African Nobel Winner Nadine Gordimer. The novel follows the motifs and plot framework of a Bildungsroman, exploring the development of the main character, Vera Stark. The novel is set during the early 1990s in South Africa after the release of Nelson Mandela. Craig Higginson is a novelist, playwright and theatre director based in Johannesburg, South Africa. He has written and published several international plays and novels and won and been nominated for numerous awards in South Africa and Britain. References. ↑ Ogungbesan, Kolawole (1980-04-01). "Reality in Nadine Gordimer's a world of strangers". English Studies . 61 (2): 142–155. doi:10.1080/00138388008598039. ISSN 0013-838X. ↑ Verongos, Helen T. (2014-07-14). "Nadine Gordimer, Novelist Who Took On Apartheid, Is Dead at 90". The New York Times . ISSN 0362-4331. ↑ Gray, Stephen (1988). "Gordimer's" A World of Strangers" as Memory". ARIEL: A Review of International English Literature . 19 (4). Archived from the original on 2015-09-30 .
Recommended publications
  • Africa in the Fiction of Nadine Gordimer
    Africa in the Fiction of Nadine Gordimer RICHARD I. SMYER JL^^ÍADINE GORDIMER has pointed out that for modern man Africa has come to represent an inner condition — an aspect of his "spiritual consciousness," a "state of regeneration," and an "untapped source" of energy within himself toward which he may be seeking "the dangerous way back." Inspiring hope as well as uncertainty, "this Africa is... only a new name for an old idea -— man's deep feeling that he must lose himself in order to find himself."1 Gordimer has described herself as a "romantic struggling with reality,"2 and it is Gordimer the romantic who is aware of Western man's longing to venture beyond the limits of his own world, beyond his conscious identity, in search of a vital centre, a primal wholeness and energy, within the Africa within his own psyche. Gordimer is, however, enough of a realist to know that those who have been drawn to the continent often have been more intent on asserting the permanence of a familiar racial and cultural identity — for Western man, his identity as master. In South Africa the result has been apartheid, which is only one aspect of what Gordimer has noted as the fragmentation of a society lacking a common language or history and unified neither by ties of ethnic kinship nor by a shared social or political ideology.3 The polarity of the romantic quest for a psychologically re• generative wholeness and the realistic recognition of diversity and isolation may reflect a deep structure of the South African experi• ence.
    [Show full text]
  • TRE CONSCIOUSNESS of HISTORY 7N the NOVELS of NADINE GORDDJER: 1953-1974 by S Tephen Clingman
    TRE CONSCIOUSNESS OF HISTORY 7N THE NOVELS OF NADINE GORDDJER: 1953-1974 by S tephen Clingman In her critical book, The Black Interpreters, Nadine Gordimer writes: If you want to read the facts of the retreat from Moscow in 1815, you may read a history book; if you want to know what war is like and how people of a certain time and background dealt with it as their personal situation, you must read War and Peace. (1) In her opinion, it is clear, fiction can present history as historiography cannot. Moreover, it appears, such a presentation is not fictional in the sense of being "untrue". Rather, fiction deals with an area of historical activity inaccessible to the sciences of greater externality: the area in which historical process is registered as the subjective consciousness of individuals in society. While any claim to the unique powers of fiction in this regard must undoubtedly be qualified, it is nevertheless partly the intention of the present paper to demonstrate that Nadine Gordimerls own novels may indeed be viewed in this way. But, whereas her remark is focussed on the narrative world which Tolstoy presents, taking for granted the veracity of the subjective historical experience he depicts, this paper follows rather the historical consciousness of Nadine Gordimer herself as it is manifested in a developing way in her successive novels. Perhaps more than any other South African writer, Nadine Gordimer's literary consciousness is historical. This is apparent in matters ranging from her critical remarks on other writers (as above) to the specific mode of fickion she habitually employs in her novels.
    [Show full text]
  • Bibliographie Sur Jump, Nadine Gordimer, SAES Agrégation Session 2019, Option A
    Bibliographie sur Jump, Nadine Gordimer, SAES agrégation session 2019, option A Fiona McCann (Lille 3-IUF) et Kerry-Jane Wallart (Sorbonne Université), avec l’aide de Mathilde Rogez (Toulouse-Jean Jaurès) 1. Édition au programme Nadine Gordimer, Jump (1990). London: Vintage, 1991. 2. Autres œuvres de Nadine Gordimer Nouvelles Face to Face. Johannesburg: Silver Leaf Books, 1949. The Soft Voice of the Serpent. New York: Simon and Schuster, 1952. Six Feet of the Country. London: Gollancz, 1956. Friday's Footprint. London: Gollancz, 1960. Not for Publication. London: Gollancz, 1965. Livingstone's Companions. London: Jonathan Cape, 1971. Some Monday for Sure. London: Heinemann, 1976. A Soldier's Embrace. London: Jonathan Cape, 1980. Something Out There. London: Jonathan Cape, 1984. A Correspondence Course and Other Stories. Eurographica, 1986. Crimes of Conscience: Selected Short Stories. London: Heinemann, 1991. Why Haven't You Written?: Selected Stories 1950-1972. London: Penguin Books, 1992. Harald, Claudia and Their Son Duncan. London: Bloomsbury, 1996. Loot. New York: Farrar, Straus and Giroux, 2003. Beethoven Was One-Sixteenth Black. London: Bloomsbury, 2007. *Life Times: Stories 1952-2007. New York: Penguin, 2011. Romans The Lying Days. London: Gollancz, 1953. A World of Strangers. London: Gollancz, 1958. Occasion for Loving. London: Gollancz, 1963. The Late Bourgeois World. London: Gollancz, 1966. A Guest of Honour. New York: Viking Press, 1970 / London: Jonathan Cape, 1971. *The Conservationist. London: Jonathan Cape, 1974. *Burger's Daughter. London: Jonathan Cape, 1979. **July's People. London: Jonathan Cape, 1981. A Sport of Nature. London: Jonathan Cape, 1987. My Son's Story. London: Bloomsbury, 1990. None to Accompany Me.
    [Show full text]
  • The Irony of Apartheid: a Study in Technique and Theme in the Fiction of Nadine Gordimer
    THE IRONY OF APARTHEID: A STUDY IN TECHNIQUE AND THEME IN THE FICTION OF NADINE GORDIMER Brighton J. Uledi-Kamanga In the introduction to her collection of short stories, Some Monday for Sure, the 1991 Nobel Laureate, Nadine Gordimer states that irony is her mai.n tool of literary exposition. She makes this statement with specific reference to the stories "The African Magician" and "The Bridegroom". According to her,. both stories depict "the average [South African] white man and woman's lack of consciousness of, or fear of, an unacknowledged. friendship with blacks, and their emotional dependency upon them."1 She adds that "My approach in these stories is that of irony. In fact I would say that in general, in- my stories, my approach is the ironical one, and it represents the writer's unconscious selection of the approach best suited to his material."2 In this paper I argue that Nadine Gordimer does not limit her use of tho ironical technique to the short stories only, but that she uses it extensively in her novels as well. The material she deals with in both literary forms is the same, and indeed best lends itself to the ironical approach. And through the use of this technique Gordimer is able to maintain a high level of artistic objectivity in her exposure of the various contradictions the apartheid system has created in South Africa. According to D.C. Muecke, irony can be defined "as ways of speaking, writing, acting, behaving, painting etc., in which the real or intended meaning presented or evoked is intentionally quite other than, and incompatible with, the ostensible or pretended meaning.
    [Show full text]
  • Nadine Gordimer De-Linking, Interrupting, Severing
    Commonwealth Essays and Studies 41.2 | 2019 Nadine Gordimer De-Linking, Interrupting, Severing Electronic version URL: https://journals.openedition.org/ces/413 DOI: 10.4000/ces.413 ISSN: 2534-6695 Publisher SEPC (Société d’études des pays du Commonwealth) Printed version Date of publication: 10 June 2019 ISSN: 2270-0633 Electronic reference Commonwealth Essays and Studies, 41.2 | 2019, “Nadine Gordimer” [Online], Online since 05 November 2019, connection on 21 September 2021. URL: https://journals.openedition.org/ces/413; DOI: https:// doi.org/10.4000/ces.413 Commonwealth Essays and Studies is licensed under a Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Nadine Gordimer De-Linking, Interrupting, Severing Vol. 41, N°2, Spring 2019 Nadine Gordimer De-Linking, Interrupting, Severing Fiona MCCANN and Kerry-Jane WALLART • Nadine Gordimer: De-Linking, Interrupting, Severing. Introduction .................................................................... 5 Stephen CLINGMAN • Gordimer, Interrupted ..................................................................................................................................................11 Pascale TOLLANCE • “[S]he Has a Knife in [Her] Hand”: Writing/Cutting in Nadine Gordimer’s Short Stories ..............................25 Liliane LOUVEL • Nadine Gordimer’s Strangely Uncanny Realistic Stories: The Chaos and the Mystery of It All ......................39 Michelle GOINS-REED • Conflicting Spaces: Gender, Race, and Communal
    [Show full text]
  • Occasion for Loving and the Pickup1
    Crossing lines: the novels of Nadine Gordimer with a particular focus on Occasion for loving and The pickup1 Derek A. Barker Department of English (Associate) UNISA E-mail: [email protected] Abstract Crossing lines: the novels of Nadine Gordimer with a particular focus on Occasion for loving and The pickup Novelist, playwright, short-story writer, polemicist and activist, Nadine Gordimer (1929), received the Nobel Prize for literature in 1991. She is an implacable opponent of apartheid, which she opposed through her imaginative writing as well as through essays and polemics. The end of apartheid was heralded by the release of Nelson Mandela in 1990, and officially ended with the first democratic elections that were held in April of 1994. Gor- dimer has produced fourteen novels to date: ten falling clearly within the apartheid period, and four novels that can be classi- fied as falling within the postapartheid period. There is evidence of several general and interrelated shifts in her novels since the demise of apartheid. The previous emphasis on the community and communal responsibility has to some extent been replaced by a relatively greater emphasis on the individual, that is, a move from a stress on public identity to private identity. Local, South African concerns are succeeded by more global con- cerns. This article discusses these developments, with a speci- fic focus on “Occasion for loving” (1963) and “The pickup” (2001). 1 An abbreviated version of the paper was presented at the Second International IDEA Conference: Studies in English 17-19 April 2007, Hacettepe University, Beytepe Campus, Ankara, Turkey.
    [Show full text]
  • The Politics of Place and the Question of Subjectivity in Nadine Gordimer's Burger's Daughter
    The Politics of Place and the Question of Subjectivity in Nadine Gordimer's Burger's Daughter Toshiko SAKAMOTO Subjectivity as Spatial Construction is affected by almost all aspects of social and political life in South Africa because she is the daughter of a Any idea of subjectivity as individual conscious man who has chosen a particular political position as a ness, freedom and responsibility becomes problematic communist revolutionary in which she is naturally within a social context because what determines the implicated. Placing the exploration within such a con individual being is not consciousness per se but the text raises several issues. The daughter of the hero social and cultural world that shapes consciousness. figure inherits not only the ramifications of social con The subject is therefore always already social, always flicts but also the burdens, expectations, and roles connected with the contexts and histories of particular which the father takes on. Her father's ideology in social and cultural worlds. The initial constructions of which her entire childhood and upbringing have been subjectivity are thus performed as spatial construction subsumed is a communist ideology uncompromisingly upon which a dialectic of self-reflection as the self- committed to social responsibility. There is a sense questioning of being may be based' (Noyes 1992: 65). then in which the novel is also an examination of the John K. Noyes in Colonial Space explains that the con 'human conflict between the desires to live a personal, struction of subjectivity in colonial space1 is closely private life, and the rival claim of social responsibility linked to the meaning of that space, its history, politics to one's fellow men-human advancement' (Ibid.).
    [Show full text]
  • REFERENCES: PRIMARY SOURCES Gordimer, Nadine.The Lying Days
    REFERENCES: PRIMARY SOURCES Gordimer, Nadine.The Lying Days.New York:Simon Schuster, 1953. Gordimer, Nadine. A World of Strangers. Harmondsworth:Penguin Books, 1958. Gordimer, Nadine. Occasions for loving. New York:Viking Press, 1963. Gordimer, Nadine.A Sport of Nature. New York: Knoph, 1987. Gordimer, Nadine. My Son’s Story .London:Bloomsbury, 1990. Coetzee,J.M. Dusklands. London: Vintage, 2004. Coetzee, J.M. In the Heart of the Country. Harmondsworth: Penguin Books,1982. Coetzee,J.M. Life and Times of Michael K .London: Vintage, 2004. Coetzee,J.M. Age of Iron. London:Penguin,1998. Coetzee, J.M.Disgrace. London: Vintage, 2000. SECONDARY SOURCES: 1. Baral, K.C..Happy for Battle:The Essential Gestures in Nadine Gordimer’s My Son’s Story.The Literary, Half- Yearly, 34, 1, Jan. 1993 . p-112-125. 2. King, Bruce. ‘Protest, Alienation and Modernism in the New Literatur’. The Literary. Half- Yearly, 128, No.-1, Jan. 1987.p-8-10. 3. Brutus, Dennis. ‘Protest Against Apartheid.’ Protest and conflict in African Literature. (Ed.) Peterse, Cosmo and Munro, Donald. London. Heinemann.1969. 4. Povey, John. ‘South Africa,’ Literatures of the World in English. (Ed.) King, Bruce. London. Routledge, 1974. 5. Head, Dominic. ‘Gordimer’s None to Accompany Me, Revisionism and interregnum’.Research in African Literature. 25, No.4, Winter 1994. P-46- 56. 6. Massi, Allan. The Novel Today, London, Longman.1990. 7. Clarke, Diana. ‘Nadine Gordimer’ Interviews with Contemporary Novelists. London, Macmillan.1986. 8. Magubane, Bernar. ‘The Political Economy of Race and Class in South Africa.’ New York. Monthly Review Press. 1979. 9. Clingman Stephan. ‘Writing in a fractured Society: The Case of Nadine Gordimer’.
    [Show full text]
  • Gordimer, Race, and the Impossibility of Communication Action in Apartheid South Africa
    Gordimer, Race, and the Impossibility of Communication Action in Apartheid South Africa Sinkwan Cheng Religious Studies, Duke University 118 Gray Building, Campus Box 90964 Durham, NC 27708, USA Email: [email protected] Abstract: Drawing from Bakhtin and Habermas, I will show how the different voices in Gordimer's novel seem to be enacting a democratic public sphere in which no voice is granted authority over others – a public sphere which carries the promise of countering the social and political hierarchies established by the racist South African regime. The promise, however, turns out to be an illusion. As I will demonstrate, the possibility of an Enlightenment bourgeois public sphere which the novel seems to be gesturing at is being irreparably undermined by racism. In a country where the Enlightenment aspiration to universalism and equality before the law are glaringly contravened by racism, Rosa Burger is painfully aware of her inability to fully access the predicament of the blacks. As such, Burger’s daughter remains only Burger’s daughter, and the children of Soweto the children of Soweto; at no point in the novel do they truly intermingle. Despite the fact that both are fighting racism – and the novel is devoted to the “coming-of-age” of both kinds of children – Rosa Burger remains only the daughter of a Bürger at the end of the novel, not the daughter of South Africa, much less to say the daughter of Black South Africa. She has finally “come into her own,” but the “self” she manages to realize is at best that of a disillusioned bourgeois individual (that of a disillusioned Bürger, so to speak) – a “self” that recalls Hegel’s “beautiful soul.” To appropriate György Lukács’s language, Bürger’s Daughter could be described as “modern bourgeois literature bear[ing] witness against bourgeois society.” Keywords: Gordimer, Adorno, Bakhtin, Habermas, Lukács, Enlightenment, citizenship, human rights, citizen rights.
    [Show full text]
  • Rowland Smith Review Article Fiction and Propaganda
    Rowland Smith Review Article Fiction and Propaganda: Conversations with the Laureate Conversations with Nadine Gordimer. Edited by Nancy Topping Bazin and Marilyn Dallman Seymour. Jackson: UP of Mississippi, 1990. Pp. xxiv, 321. $29.95. Paper, $14.95. Nadine Gordimer has been highly visible in the 1990s. In 1991 she won the Nobel Prize; in the same year her short story collection, Jump, was published. In 1990 her novel, My Son's Story, had appeared, as had my edited volume, Critical Essays on Nadine Gordimer, and Conversations with Nadine Gordimer, edited by long-time Gordimer critic Nancy Topping Bazin and by Marilyn Dallman Seymour. This last book, a collection of all her previously published interviews, is an invaluable addition to the Gordimer canon. Not only does it assemble what had up to then been scattered across a wide range of journals and magazines, but this single volume enables us to trace the interview-pronouncements of the Nobel prize winner from 1958 to 1989, the dates of the first and last interviews published here. The editorial apparatus is minimal: an introduction by Bazin and a "Chronology" of significant events in Gordimer's life. For the rest, the interviews speak for themselves. With the exception of a few over-intrusive interviewer's comments, the result is vintage Gordimer for some 313 pages. What a powerful effect these comments have en masse. They reveal both consistency and change. Like her fiction, her interviews reflect both CONVERSATIONS WITII THE LAUREATE 539 the immediate concerns of the period in which they were given, and-by corollary-the change in historical circumstances in South Africa over the last 35 years.
    [Show full text]
  • Nadine Gordimer
    Nadine Gordimer: An Inventory of Her Short Stories and Novel at the Harry Ransom Center Descriptive Summary Creator Gordimer, Nadine, 1923-2014 Title Nadine Gordimer Short Stories and Novel Manuscripts 1958-1965 Dates: 1958-1965 Extent .5 Box (.21 linear feet) Abstract: This collection contains typescripts for thirteen short stories and one novel. Language English. Access Open for research Administrative Information Acquisition Gift of Joseph Jones, 1962 Processed by Katie Salzmann, 1995; Sarah Demb, 1996 Repository: Harry Ransom Center, University of Texas at Austin Gordimer, Nadine, 1923-2014 Biographical Sketch Nadine Gordimer, novelist and short story writer, was born in Springs, South Africa, in 1923. She spent her childhood in Transvaal, and began writing at an early age, publishing her first short story, "Come Again Tomorrow," when she was 15. At 21, Gordimer briefly attended Witwatersrand University in Johannesburg where she was exposed to the social and political atmosphere of South Africa, which would become the focus of her works. Gordimer married twice--first in 1949 to G. Gavron, with whom she had one daughter, and then to Reinhold Cassirer in 1954. They had one son. Gordimer remained in Johannesburg and her works reflect the racially turbulent themes of South Africa's history. She published fifteen novels. Her first was the semi-autobiographical The Lying Days (1953), which was followed by A World of Strangers (1958), Occasion for Loving (1963), The Late Bourgeois World (1966), A Guest of Honour (1971), The Conservationist (1974), Burger's Daughter (1979), July's People (1981), A Sport of Nature (1987), My Son's Story (1990), None to Accompany Me (1994), The House Gun (1998), The Pickup (2001), Get a Life (2005), and No Time Like the Present (2012).
    [Show full text]
  • Nadine Gordimer and the Critics
    View metadata, citation and similar papers at core.ac.uk brought to you byCORE provided by University of Calgary Journal Hosting Inside and Outside : Nadine Gordimer and the Critics ROWLAND SMITH T JLHE ESSAYS in this special issue were written on three con• tinents: North America, Europe and Africa. The range of their concerns and the variety of their perspectives show the extent to which Nadime Gordimer is a world figure. Yet the same variation in treatment indicates the degree to which approaches to her work are conditioned by the cultural contexts in which the criticism itself is written. Stephen Gray is the only South African scholar, writing within the country, to be represented in this volume, and his approach and tone are quite distinct from those of the other scholars and critics writing outside South Africa: in Canada, Europe and the United States. Not that there is uniformity among this larger group. The typically close analysis of text shown by the French critic, André Viola, is itself distinct from the primarily socially- based criticism of the North American scholars. And even here, the formal concerns of Mary Donaghy are significantly different from the feminist issues that Robin Visel raises in her analysis of the position of women in Gordimer's fiction. No; what distin• guishes Stephen Gray's essay from others in this issue is the degree to which Gordimer's own pronouncements and values matter to him, even when he is discussing a novel first published in 1958. The cultural and political issues dealt with in Gordimer's work involve a society in crisis, and that crisis has moral dimensions quite inconceivable to an outsider safely away from it all.
    [Show full text]