In Mia's search to reconnect with the places and people she left behind, she journeys through her childhood, through her relationships with her beloved father, Issey, her nanny, Sarafina, and best friend, Grace. But, the first person she will have to face is her distant mother, Fran. This story weaves together the present, past and distant past.
Plunging the reader into a phantasmagoric world where streets are paved with human remains and men are apocalyptically condemned to death by the fire of their loins, these short stories strike a fabulist and magical realism drawn from African traditions and present-day conditions. For all its contemporary relevance, this collection has at its core a dialogue between the living and their ancestors that creates a powerful resonance between the bones of the dead and the echoes of their survivors.
The authors in this volume explore the interconnected issues of intergenerational trauma and traumatic memory in societies with a history of collective violence across the globe. Each chapter’s discussion offers a critical reflection on historical trauma and its repercussions, and how memory can be used as a basis for dialogue and transformation. The perspectives include, among others: the healing journey of three generations of a family of Holocaust survivors and their dialogue with third generation German students over time; traumatic memories of the British concentration camps in South Africa; reparations and reconciliation in the context of the historical trauma of Aboriginal Australians; and the use of the arts as a strategy of dialogue and transformation.
This collection brings together case studies from the social sciences, such as clinical psychology and psychotherapy, as well as articles from the humanities that examine the aesthetics of trauma as represented in film, fiction, poetry, and the graphic novel.
The contributions to this volume probe the complex relationship of trauma, memory, and narrative. By looking at the South African situation through the lens of trauma, they make clear how the psychic deformations and injuries left behind by racism and colonialism cannot be mended by material reparation or by simply reversing economic and political power-structures. Western trauma theories – as developed by scholars such as Caruth, van der Kolk, Herman and others – are insufficient for analysing the more complex situation in a postcolony such as South Africa. This is because Western trauma concepts focus on the individual traumatized by a single identifiable event that causes PTSD (Post Traumatic Stress Disorder). What we need is an understanding of trauma that sees it not only as a result of an identifiable event but also as the consequence of an historical condition – in the case of South Africa, that of colonialism, and, more specifically, of apartheid. For most black and coloured South Africans, the structural violence of apartheid’s laws were the existential condition under which they had to exist. The living conditions in the townships, pass laws, relocation, and racial segregation affected great parts of the South African population and were responsible for the collective traumatization of several generations. This trauma, however, is not an unclaimed (and unclaimable) experience. Postcolonial thinkers who have been reflecting on the experience of violence and trauma in a colonial context, writing from within a Fanonian tradition, have, on the contrary, believed in the importance of reclaiming the past and of transcending mechanisms of victimization and resentment, so typical of traumatized consciousnesses. Narration and the novel have a decisive role to play here.
Tackling a barrage of relations and eccentrics while dealing with the devastation of war and politics, this poignant narrative explores a country's recent history in a pervasive poetic style. This lyrical account of veiled truths and panoramic splendor--where the true nature of change is revealed in a detailed narrative collage--saturates the senses, shifting masterfully through postcolonial identity, spirituality, and African-ness.
By the time Joanne Fedler's fortieth birthday loomed, she'd had it with several trouble-makers who'd been wreaking havoc in the kingdom of her heart for too long. It was time to deport them. In what she initially took to be an unrelated impulse, she figured she could also start to care again about how she looked before the fatty deposits on her rear-end fossilized. And that's where the idea behind When Hungry, Eat began. Or so she thought. She started a new eating plan ('a ridiculous euphemism for self-imposed starvation') which took her on a route to a much Greater Hunger - as Lauren van der Post calls it - which had nothing to do with food. What began as a mission to get back into a bikini became a pilgrimage back to faith, which had not been on either her food list or her itinerary. When Hungry, Eat is a celebration of unexpected spiritual wisdom, small portions and the gifts of hunger.
An analytic and historical perspective of literary texts to understand the position of domestic workers in South Africa More than a million black South African women are domestic workers. Precariously situated between urban and rural areas, rich and poor, white and black, these women are at once intimately connected and at a distant remove from the families they serve. Ena Jansen shows that domestic worker relations in South Africa were shaped by the institution of slavery, establishing social hierarchies and patterns of behavior that persist today. To support her argument, Jansen examines the representation of domestic workers in a diverse range of texts in English and Afrikaans. Authors include André Brink, JM Coetzee, Imraan Coovadia, Nadine Gordimer, Elsa Joubert, Antjie Krog, Sindiwe Magona, Kopano Matlwa, Es'kia Mphahlele, Sisonke Msimang, Zukiswa Wanner and Zoë Wicomb. Like Family is an updated version of the award-winning Soos familie (2015) and the highly-acclaimed 2016 Dutch translation, Bijna familie.
A professor contemplates the ruins of his life while delivering a passionate final lecture; a city girl suffers an unaccountably cruel twist of fate in a stranger's apartment; a rising executive flies blindly toward his past; and, darkly fleeting, a young boy haunts the lives of all who cross his path. It is the district of Suffolk that binds them together, a place so carefully and imaginatively constructed that it evokes the novels of William Faulkner. Through a beautifully crafted mosaic of different voices brought to life in dazzling, original prose, this novel creates a world that breaks new ground in literary convention and leaves a mark long after its poignant end.
We either think our lives are so special that everyone should be interested in what’s happened to us, or so ordinary that we can’t imagine anyone would care. The truth lies somewhere in between: yes, we are all special, and no, people will notcare—unless we write with them in mind. Joanne Fedler, a beloved writing teacher and mentor, has written Your Story to help all people, even those who don’t necessarily identify as "writers," value their life stories and write them in such a way that they transcend the personal and speak into a universal story. This book shows how to write from your life, but for the benefit of others. Each human life is unique, and the meaning we each make from our joys and suffering can, if written with a reader in mind, be an act of generosity and sharing. Filled with practical wisdom and tools, the book tackles: •mindset issues that prevent us from writing •ways to develop trust (in yourself, the process, the mystery) •triggers or prompts to elicit our own stories •Joanne’s original techniques for "lifewriting" developed over a decade of teaching and mentoring •and much more "Joanne understands the writer’s loneliness," says one such writer whose life she’s touched, the award-winning Israeli author Nava Semel. "In this book she has created a menu of encouraging possibilities on how to overcome our fears and dig deep into our souls, so that our true voice can emerge."