Dark night babe toss and turn the clouds above you make the sober go drunk come in from the cold warm you up sink down our throat the clouds above mountains so high sink babe sink sink a shaft move slowly down the mountain down our throats toss and turn babe sink on me all night dark clouds above you make the sober go drunk sink babe sink sink it smooth sink a shaft
The poems, stories and essays of Mphutlane wa Bofelo operate within a framework of thinking that is an amalgam of philosophies: that of black consciousness, humanistic Islam and socialism. His voice is both lyrical and satirical, expressing anger and tenderness even as his barbs are sharp and his kisses tender. His beats are complex polyrhythms that roll on in incantatory style or achieve mystical brevity. Bofelo entered the world of sociopolitical and cultural activism in the early 1980s through the black consciousness movement in Zamdela Township in Sasolburg. He lives in Durban, where he has built up an audience as a performer of poetry, a speaker and a facilitator. He has self-published two poetry collections and is represented in journals, newspapers and on web sites.
The Botsotso literary journal started in 1996 as a monthly 4 page insert in the New Nation, an independent anti-apartheid South African weekly and reached over 80,000 people at a time largely politisized black workers and youth with a selection of poems, short stories and short essays that reflected the deep changes taking place in the country at that time. Since the closure of the New Nation in 1999, the journal has evolved into a stand-alone compilation featuring the same mix of genres, and with the addition of photo essays and reviews. The Botsotso editorial policy remains committed to creating a mix of voices which highlight the diverse spectrum of South African identities and languages, particularly those that are dedicated to radical expression and examinations of South Africa's complex society.
The Botsotso Jesters poetry performance group was founded in 1994. After a few member changes, it solidified in 1996 with the line up that published this first Botsotso book. The collectively written poems that provided such powerful performance material are followed by individual collections of each of the five. Anna Varney's graphics set the tone for many future books in which the combination of written and visual images becomes a striking factor.
The Botsotso literary journal started in 1996 as a monthly 4 page insert in the New Nation, an independent anti-apartheid South African weekly and reached over 80,000 people at a time – largely politisized black workers and youth – with a selection of poems, short stories and short essays that reflected the deep changes taking place in the country at that time. Since the closure of the New Nation in 1999, the journal has evolved into a stand-alone compilation featuring the same mix of genres, and with the addition of photo essays and reviews. The Botsotso editorial policy remains committed to creating a mix of voices which highlight the diverse spectrum of South African identities and languages, particularly those that are dedicated to radical expression and examinations of South Africa's complex society.
Twelve + one contains interviews with 13 poets from Johannesburg who span a wide range with respect to age, gender, colour and class. Mike Alfred, who has contributed to journals for many years and has published several individual collections of his own work, provides an intimate opportunity for poets to tell both their biographical stories, describe their artistic aims and processes as well compiling a selection of poems which best represent their themes and styles. The result grants the reader a fascinating insight into a key cross-section of South African poets.
These poems cover many different states of mind and situations and are deeply rooted in South Africa but also travel to other continents. A strong historical consciousness is mixed with different examples of violence and dispossession as well as an awareness of subconscious associations so that the political and the surreal intermingle - the brutalities of war and exploitation are softened by the tenderness of love. Stylistically inventive, it explores new forms while striving for an overall musicality.
The contributors of this anthology make up a wide spectrum of South Africans: black, white, men and women, established and budding who write in either English or Afrikaans. Among these are writers who began their careers in the fifties (George Weideman), to those who were active in the black consciousness period of the seventies (Achmat Dangor, Chris van Wyk, Maropodi Mapalakanye) through to writers who first appeared in print in the eighties and nineties (Rayda Jacobs, Finuala Dowling, Zachariah Raphola, Roshila Nair, Roy Blumenthal, Allan Kolski Horwitz). While many of the writers in this anthology have established themselves as poets, novelists, dramatists and oral storytellers, they all choose the short story as another means of expressing a diverse South Africa of rural and urban life, white suburbia, black township, childhood, love, hate, reconciliation, the grim as well as the funny that make up the tapestry of a country as it used to be and as it is today.
The monograph explores the linguistic impact of the colonial and postcolonial situations in South Africa on language policy, on literary production and especially on the stylistics of fiction by indigenous South Africans writing in English. A secondary concern is to investigate the present place of English in the multilingual spectrum of South African languages and to see how this worldly English relates to Global English, in the South African context. The introduction presents a socio-linguistic overview of South Africa from pre-historic times until the present, including language planning policies during and after the colonial era and a cursory review of how the difficulties encountered in implementing the Language Plan, provided for by the new South African constitution, impinge on the development of black South African English. Six chapters track the course of English in South Africa since the arrival of the British in 1795, considered from the point of view of the indigenous African population. The study focuses on ways in which indigenous authors 'indigenize' their writing, innovating and subverting stylistic conventions, including those of African orature, in order to bend language and genre towards their own culture and objectives. Each chapter corresponds to a briefly outlined historical period that is largely reflected in linguistic and literary developments. A small number of significant works for each period are discussed, one of which is selected for a case-study at the end of each chapter, where it is subjected to detailed stylistic analysis and appraised for the degree of indigenization or other linguistic or socio-historic influences on style. The methodology adopted is a linguistic approach to stylistics, focusing on indigenization of English, inspired by the work of Chantal Zabus in her book, The African Palimpsest: Indigenization of Language in the West African Europhone Novel (2007, (1991)). The conclusion reappraises the original hypothesis - that the specific characteristics of South African literary production, including styles of writing, can be related to the political, social and economic context - in the light of many fresh insights; and discusses the place occupied by English in the cultural struggle of the formerly colonized peoples of South Africa.
South African poetry today is charged with restlessness, burstng with diversity. Gone is the intense inward focus required to deal with a situation of systematic oppression, the enclosing effort of concentration on a single predicament. While politics and identity continue to be central themes, the poetry since the late 1990s reveals a richer investigation of ancestors and history, alongside more experimentation with language and translation; and enduring concern with the touchstones of love, loss, memory, and acts of witnessing. In the Heat of Shadows: South African Poetry 1996-2013 presents work by 33 poets and includes some translations from Afrikaans, isiXhosa, isiZulu, Sesotho and Xitsonga. This collection follows on from Denis Hirson’s 1997 anthology The Lava of this Land: South African Poetry 1960-1996.
