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Still Beating the Drum R O S S Readings in the Post / Colonial C U L T U R E S Literatures in English 81 Series Editors Still Beating the Drum r o s s Readings in the Post / Colonial C u l t u r e s Literatures in English 81 Series Editors Gordon Collier Hena Maes–Jelinek Geoffrey Davis (Giessen) (Liège) (Aachen) Still Beating the Drum Critical Perspectives on Lewis Nkosi Edited by Lindy Stiebel and Liz Gunner Amsterdam - New York, NY 2005 The paper on which this book is printed meets the requirements of “ISO 9706:1994, Information and documentation - Paper for documents - Requirements for permanence”. ISBN: 90-420-1807-0 ©Editions Rodopi B.V., Amsterdam – New York, NY 2005 Printed in The Netherlands Contents Acknowledgements ix Illustrations xi Preface xiii Introduction: Lewis Nkosi – Inscriptions xv PART ONE: WRITING ON LEWIS NKOSI THE LITERARY CRITIC 1 Lewis Nkosi as Literary Critic ANNIE GAGIANO 5 2 Lewis Nkosi’s Early Literary Criticism CHRIS WANJALA 27 3 Lewis Nkosi: A Commentary Piece OYEKAN OWOMOYELA 39 THE DRAMATIST AND POET 4 Contaminations: BBC Radio and the Black Artist – Lewis Nkosi’s “The Trial” and “We Can’t All be Martin Luther King” LIZ GUNNER 51 5 Hostage Drama: The Rhythm of Violence and Some Comments on “The Black Psychiatrist” SIKHUMBUZO MNGADI 67 6 Psychoanalysis and Apartheid: The Image and Role of the Psychiatrist in Selected Works of Lewis Nkosi ASTRID STARCK–ADLER 93 7 The Desire of Knowledge, or, the Body in Excess: Lewis Nkosi’s Play “The Black Psychiatrist” THERESE STEFFEN 103 8 An Introduction to the Poetry of Lewis Nkosi LITZI LOMBARDOZZI 127 THE NOVELIST 9 “Bathing Area – For Whites Only”: Reading Prohibitive Signs and ‘Black Peril’ in Lewis Nkosi’s Mating Birds LUCY GRAHAM 147 10 The Return of the Native: Lewis Nkosi’s Mating Birds Revisited in Post-Apartheid Durban LINDY STIEBEL 167 11 Companion Piece: South African Censors’ Report on Mating Birds 183 12 Mammon and God: Reality, Imagination and Irony in Underground People ANDRIES OLIPHANT 187 13 Beyond the Literature of Protest: Lewis Nkosi’s Underground People RAFFAELLA VANCINI 197 PART TWO: LEWIS NKOSI IN HIS OWN VOICE INTERVIEWS 14.1 Interview with Lewis Nkosi 25 October 2002, Durban, South Africa conducted by ZOË MOLVER, filmed by D AVID BASCKIN 219 14.2 Nuruddin Farah and Lewis Nkosi in conversation with ACHILLE MBEMBE at the Time of The Writer Festival, Elizabeth Sneddon Theatre in Durban, South Africa on 15 March 2003 Creative Arts, University of KwaZulu–Natal 229 A RETROSPECTIVE SELECTION 15.1 Fiction by Black South Africans 245 15.2 Alex La Guma: The Man and His Work 257 15.3 Negritude: New and Old Perspectives 267 15.4 White Writing 291 15.5 Bloke Modisane: Blame Me On History 297 15.6 The Republic of Letters After the Mandela Republic 311 PART THREE: SOURCES FOR LEWIS NKOSI 16 Bibliography 333 17 Timeline 353 Notes on Contributors 359 Index 363 This page intentionally left blank Acknowledgements The editors gratefully acknowledge permission to reprint the following: “Literary Feature Reviews: White Writing” by Lewis Nkosi, in Third World Quarterly 11.1 (1989): 157–61. Taylor and Francis Ltd http://www.tandf .co .uk /journals “The Republic of Letters after the Mandela Republic” by Lewis Nkosi, in Journal of Literary Studies 10.3–4 (2002): 240–58; “Bloke Modisane: Blame Me On History” by Lewis Nkosi, in Southern Afri- can Review of Books 3.3–4 (1990): 11–13; “Fiction by Black South Africans” by Lewis Nkosi, in Nkosi, Home and Exile and Other Selections (Essex: Longman Group Ltd, 1983); photograph of Lewis Nkosi and friend while working for Drum: permission to republish granted by Rob Turrell of Southern African Review of Books. Every effort has been made to trace copyright holders. If an infringement has occurred, the publishers would be very grateful for information that will enable them to make corrections in the event of a reprint. Lindy Stiebel and Liz Gunner would like to thank — the Research Office of the University of KwaZulu-Natal for supporting this project by rewarding research productivity; — the National Research Foundation through the projects under the leader- ship of Lindy Stiebel and Liz Gunner; — the BBC Written Archives Centre, Caversham, Reading; — Lewis Nkosi for providing private photographs reproduced in this book, and for answering numerous queries about his work and life; — Glenda Robson for editing assistance and Judith Shier for assistance with the index; — staff, particularly Andrew Martin, at the National English Literature Mus- eum, Grahamstown, South Africa for archival searches on Lewis Nkosi and Drum; \ Acknowledgements x — Peter Rorvik, Director of the Centre for Creative Arts, University of Kwa Zulu–Natal, for granting permission to transcribe and publish the discussion between Achille Mbembe, Nuruddin Farah and Lewis Nkosi from the Time of the Writer festival 2003; — Litzi Lombardozzi for compiling the Bibliography and Timeline; — students of the “Sophiatown Revisited” course run by Liz Gunner for active discussions on Drum; and students of the “South African Literature and Landscape” course run by Lindy Stiebel for engaging with Mating Birds so intensely; — contributors to this volume for their hard work and enthusiasm for this project; — Gordon Collier, for extensive and intensive help on matters bibliogra- phical; — finally, our families for their love and support during the making of this book. \ Illustrations C OVER: Drum studio; Paris 2002 (Lewis Nkosi) 1 Drum days with typewriter, Johannesburg (Lewis Nkosi) 4 2 Exile on the River Rhine, Basel 2002 (Lewis Nkosi) 49 3 Lewis Nkosi, Switzerland 2004 (Lewis Nkosi) 49 4 Reading with Bronwyn Ollernshaw at the BBC (Lewis Nkosi) 50 5 Lewis Nkosi with Mazisi Kunene (Lewis Nkosi) 145 6 At the Oslo Club, Norway, for the launch of Mating Birds (Lewis Nkosi) 146 7 At Goethe Haus, Switzerland, “where James Baldwin finished his first novel” (Lewis Nkosi) 165 8 Black designated beach, Durban 1960s (copyright Local History Museum, Durban) 166 9 Native Administration Department, 1960s (copyright Local History Museum, Durban) 166 10 Lewis Nkosi, Snake Park beach, 2001 (Lindy Stiebel) 182 11 Lewis Nkosi, KwaMuhle Museum, 2001 (Lindy Stiebel) 186 12 Lewis Nkosi and friend while working for Drum (source: Southern African Review of Books) 186 13 Young man, Marylebone Street, London (Lewis Nkosi) 214 14 Interview with Lewis Nkosi (David Basckin and Zoë Molver) 218 15 Chopin Park, Warsaw, Poland, 1988 (Lewis Nkosi) 256 16 Back from teaching, Wyoming, USA, 1991 (Lewis Nkosi) 266 17 “My first South African Passport,” 2003 (Lewis Nkosi) 310 \ This page intentionally left blank Preface HE IMPETUS BEHIND THIS BOOK for the editors was to focus a full-length study on Lewis Nkosi, the South African writer exiled T from South Africa for thirty years. One of the few surviving Drum journalists of Sophiatown of the 1950s, Nkosi has been a constant, if faintly heard, voice in literary discussions, both in South Africa and abroad. As a writer, he has achieved that brave crossover from critical to creative writing, the results of which then stand to be judged by his own exacting standards. His oeuvre is unusually diverse, including as it does plays, novels, short stories, critical essays and reviews, poetry, and even a libretto. For these indi- vidual reasons, combined with a sense that there is at present in South Africa a nostalgic mood that harks back to the Drum days, and even the Sophiatown days (witness the recent film on this era, plus Lionel Rogosin’s book on the making of Come Back Africa, a film whose script was co-written by Nkosi), it appears that Lewis Nkosi’s time might finally have arrived locally. In an attempt to provide both a critical perspective on Nkosi and a source- book useful to researchers, the present volume contains both commissioned chapters by academics currently engaged with Nkosi’s work and a section that reprints important critical essays by Nkosi, together with an extensive bibliography and timeline for this writer. These last two sections gather to- gether, as in a jigsaw puzzle, pieces of Nkosi’s prolific writing-output; given the scattered and ephemeral nature of many of his publications over four decades and as many continents, this has been a daunting yet rewarding task. Still Beating the Drum is not proffered as the definitive conspectus on Lewis Nkosi, but as a first step in assessing the importance of his writing over a good number of years against the tectonic shifts in South African political history – his is a voice that has been critical and criticized; it has not always been an easy one to listen to, but the fact that it has endured and continues to speak gives the literary critic ample scope for a timely consideration of what he has had to say to us collectively. \ This page intentionally left blank Introduction Lewis Nkosi – Inscriptions HE FACT THAT THIS VOLUME of essays on Lewis Nkosi will appear shortly after a proposed grand reunion of Drum writers in T Johannesburg is partly coincidental. Our aim is not to produce a commemorative volume, nor to honour a senior member of South African letters. Rather, what we hope to do in this collection is to draw attention to a distinctive, dissonant but always acutely perceptive critic and creative writer, who has been largely heard only in brief ‘soundbites’ – for instance, the trenchant shebeen voice in Rogosin’s Come Back Africa, and the sharp caveat on “Fiction by Black South Africans” in his early collection of essays (1965); his short stories scattered like an archipelago across numerous journals, his hard-to-find poems, his work as a radio interviewer buried in archives, and his letters, which remain uncollected. This volume is the first work to gather together commissioned articles along with selections from Nkosi’s literary criticism, previously unpublished interviews, and a bibliography of his writ- ings.
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