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The Vulnerable Body in Contemporary South African Literature

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The Vulnerable Body in Contemporary South African Literature THE VULNERABLE BODY IN CONTEMPORARY SOUTH AFRICAN LITERATURE IMKE VAN HEERDEN PHD UNIVERSITY OF YORK ENGLISH JULY 2015 ABSTRACT This thesis examines a selection of South African literary texts written in English and published after 2000, arguing that these works of literature illustrate the ways in which the exigencies of the vulnerable body – brutal violence, HIV/AIDS, and social inequality – complicate attempts to transcend discrimination in contemporary South Africa. Consequently, the study concentrates on representations of the vulnerable body which specifically destabilise fixed categories of identity, thus instantiating the literary ethics of interconnection that comprises its main focus. Each of the five chapters, “Sex”, “Skin”, “Blood”, “Taste”, and “Tongue”, considers a primary text by one South African author, foregrounding a particular body part that plays an important role in the work’s exploration of vulnerability. The thesis engages with different genres, which range from narrative non-fiction to cyberpunk, in addition to diverse and controversial subject positions such as “victim”, “coloured”, “HIV-positive”, “cool”, and “Afrikaner”. The selected texts develop new modes of understanding the body’s vulnerability in order to unsettle the binary oppositions that continue to shape post-apartheid society. Discursive strategies by which this is achieved include Margie Orford’s “counter- derivatisation” in Like Clockwork, Zoë Wicomb’s tact in Playing in the Light, Jonny Steinberg’s clash of epistemologies in Three Letter Plague, Lauren Beukes’s aesthetics of cool in Moxyland, and Antjie Krog’s vocabulary of grace in A Change of Tongue. Following Fanon’s plea, “O my body, always make me a man who questions!”, the ideal post-apartheid author would be one who draws on the body’s potential for self- definition, ambiguity, and change in spite of decades of deep-seated discrimination. The thesis ultimately concludes that sustained critical engagement with representations of the vulnerable body is vital to the project of national reconciliation. 2 LIST OF CONTENTS ABSTRACT ................................................................................................................. 2 LIST OF CONTENTS ................................................................................................. 3 ACKNOWLEDGEMENTS ......................................................................................... 5 AUTHOR’S DECLARATION .................................................................................... 6 1. INTRODUCTION – BODY PARTS ....................................................................... 7 1.1. Difference and Discrimination in South Africa ............................................. 7 1.2. Vulnerability ................................................................................................ 18 1.3. Contemporary South African Literature ...................................................... 21 1.4. The Body in Literature ................................................................................. 29 1.5. Body Parts .................................................................................................... 34 1.6. A Language of Vulnerability ....................................................................... 38 2. SEX: Margie Orford’s Like Clockwork................................................................. 46 2.1. Bodies Scripted with Violence .................................................................... 46 2.2. The “Unbearable Intimacy” of Sexual Violence ......................................... 49 2.3. Antithetic Characterisation .......................................................................... 56 2.4. The Cycle of Derivatisation ......................................................................... 60 2.5. The Stranger ................................................................................................. 73 3. SKIN: Zoë Wicomb’s Playing in the Light........................................................... 83 3.1. Tact and Tactility ......................................................................................... 83 3.2. The Veiled Touch ........................................................................................ 89 3 3.3. Skinless ........................................................................................................ 95 3.4. The Light Touch ........................................................................................ 103 3.5. A New Language ....................................................................................... 111 4. BLOOD: Jonny Steinberg’s Three Letter Plague ............................................... 116 4.1. The “Open Secret” of HIV/AIDS .............................................................. 116 4.2. Changing the Subject: Notes on Genre ...................................................... 123 4.3. A Plague of Three Letters .......................................................................... 135 4.4. White Doctors and Black Bodies ............................................................... 150 4.5. “A Knee-high Fence”................................................................................. 157 5. TASTE: Lauren Beukes’s Moxyland .................................................................. 161 5.1. Cyberpunk City .......................................................................................... 161 5.2. Cool Bodies in Cape Town ........................................................................ 171 5.3. Taste Cultures ............................................................................................ 180 5.4. Cool as a “Coconut”? ................................................................................. 192 5.5. #bringbackthesignal ................................................................................... 195 6. CONCLUSION – TONGUE: Antjie Krog’s A Change of Tongue .................... 202 6.1. The Vulnerable Body of Antjie Krog ........................................................ 202 6.2. White Mouth, Afrikaner Tongue ............................................................... 208 6.3. Translation and Transformation................................................................. 216 6.4. Mandela’s Tongue ..................................................................................... 224 6.5. An End: The Vulnerable Body of Nelson Mandela ................................... 233 6.6. The Vulnerable Body in Contemporary South African Literature ............ 242 7. LIST OF REFERENCES ..................................................................................... 245 4 ACKNOWLEDGEMENTS This research project was generously funded by the Commonwealth Scholarship Commission in addition to a doctoral fellowship courtesy of the University of York’s Humanities Research Centre. I would like to thank my thesis supervisor, Prof Derek Attridge, for his inimitable guidance, as well as the examiners of this thesis, Dr Andrew van der Vlies and Prof David Attwell. I am grateful to my family, Etienne, Karin, and Menán van Heerden, and friends Anıl Baş, Daléne Bosman, Pelin Dinçer, and Nadine Theron for their unconditional support. 5 AUTHOR’S DECLARATION Except where stated, all of the work contained within this thesis represents the original contribution of the author. This thesis has not been submitted previously for another degree, at this or any other university. This manuscript has not been published before and is not currently being considered for publication elsewhere. 6 1. INTRODUCTION – BODY PARTS 1.1. Difference and Discrimination in South Africa The past two years in South Africa have seen the statue of Cecil Rhodes fall on the University of Cape Town’s campus, Afrophobic violence strike down foreigners across the country, the Economic Freedom Fighters expelled from Parliament at the State of Nation Address, the sensationalised murder trial of Oscar Pistorius, and the tragic massacre of striking miners at Marikana. These headlines all serve to demonstrate that it is the vulnerable body, a body policed and persecuted, that ultimately lies at the heart of contemporary South African politics. Over decades of subjugation under, first, colonial and, then, apartheid rule, South Africans have become exceedingly aware of the vulnerability of their bodies, often in relation to ill-intentioned others. Beset by slavery, racial segregation, and military and criminal violence, the body in South Africa has never been a private, secure, or free space. Reinforced by apartheid legalisation, racial stratification reduced the body to superficial physical attributes, restricting physical and intellectual mobility and denying the dignity of both person and culture. Although much has changed in the way of civil rights, the effects of these systems of oppression linger even now as, twenty-one years after the demise of institutional apartheid, South Africa remains a land of contrasts. Notwithstanding political and intellectual efforts to overhaul the damaging legacies of apartheid, deep structural and social inequalities render bodies vulnerable to a myriad of problems – including high rates of crime, rape, HIV/AIDS, drug abuse, xenophobia, and racism. This list includes some of the greatest challenges faced by the new democracy, which all converge at the site of the vulnerable body. It follows that, although the body has been exposed to shifting pressures and processes during the past two decades,
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