Convicted on charges of protest sabotage in 1964, Hugh Lewin spent seven years in prison in South Africa, secretly recording his experiences and those of his fellow inmates on the pages of his Bible. On his release, these writings were published in London while the book remained banned in South Africa for many years. Hailed as a classic of South African prison writing, Bandiet out of Jail contains the full text of the original, as well as poems and descriptions of Lewin’s experiences with the Truth and Reconciliation Commission that offer unique insights into changes in the political and emotional landscape since his return to South Africa in 1992. The illustrations comprise original prison drawings by Harold Strachan, twice a fellow bandiet with Lewin in Pretoria. Bandiet out of Jail was awarded the Olive Schreiner Prize in 2003.
In 1964, the security police in Johannesburg detained Hugh Lewin. He was later tried and convicted on changes of sabotage. He spent seven years in prison, secretly recording his expriences, and those of his fellow inmates, on the pages of his Bible. On release, rather then submit to 24-hour arrest, he left South Africa on a one-way visa. Bandiet out of jail contains the original text of Bandiet, together with poetry and pieces written both in exile and since Lewin's return to SA. The work includes accounts of the political prisoners that could not be mentioned in the first book: the story of the death of Bram Fischer and reflections on the attainment of democracy under Mandela the Rain King.
Unusable pasts; scandalous lives; political betrayal, confession and collaboration: reading narrative non-fiction across South Africa's unfinished transition.
Literary Journalism Goes Inside Prison: Just Sentences opens up a new exploration of literary journalism – immersive, long-form journalism so beautifully written that it can stand as literature – in the first anthology to examine literary journalism and prison. In this book, a wide range of compelling subjects are considered. These include Nelson Mandela and other prisoners of apartheid; the made-in-prison podcast Ear Hustle; women’s experiences of life behind bars; Behrouz Boochani’s 2018 bestseller No Friend but the Mountains; George Orwell’s artful writing on incarceration; Pete Earley’s immersion into the largest prison in the United States, The Hot House; Arthur Koestler and the Spanish Civil War; Ted Conover’s year as a prison guard in Newjack: Guarding Sing Sing and (most originally) Bruce Springsteen’s execution narrative Nebraska. This volume will benefit anyone who writes, studies or teaches any form of narrative nonfiction. Eleven international scholars articulate what makes the work they are analysing so exceptional. At the same time, they offer insights on a diverse range of vital topics. These include journalism ethics, journalism and trauma, media history, cultural studies, criminology and social justice.
A “beautifully written, funny and deeply moving” memoir about a son’s reckoning with his father’s political idealism, set against the menacing backdrop of apartheid-era South Africa (Finuala Dowling, author of The Man Who Loved Crocodile Tamers) A bestselling South African writer known for tackling history and memory finally makes his American debut Witty and deeply poignant, My Thirty-Minute Bar Mitzvah is a breathtaking account of one man being confronted by his past and, ultimately, how his daughter proved to be the key in understanding his own father. Recreating 1960s Johannesburg through his adolescent eyes, bestselling South African author Denis Hirson gradually reveals the details of his extraordinary 13th birthday as he explores the familial and political divisions in Apartheid South Africa that weighed on him and his developing consciousness of his Jewish heritage. My Thirty-Minute Bar Mitzvah is a gem of a book about becoming a man. It’s also a valuable account of a forgotten time of white, Jewish activists, their families, their community, and most importantly, their children, who had to stumble through life in the aftermath of their commitment to racial justice.
States around the world imprison people for their beliefs or politically-motivated actions. Oppositional movements of all stripes celebrate their comrades behind bars. Yet they are more than symbols of repression and human rights. Dance in Chains examines the experiences of political prisoners themselves in order to understand who they are, what they do, and why it matters. This is the first book to trace the history of modern political imprisonment from its origins in the mid-nineteenth century. The letters, diaries, and memoirs of political prisoners, as well as the records of regime policies, relate the contest in the prison cell to political conflicts between regime and opposition. Padraic Kenney draws on examples from regimes ranging from communist and fascist to colonial and democratic, including Ireland, the United Kingdom, Poland, and South Africa. They include the Fenian Brotherhood, imprisoned in England and Ireland in the 1860s, and their successors during the Irish War of Independence and the Northern Ireland Troubles; Afrikaaners suspected of treason during the Boer War; socialists fighting for Polish freedom in the Russian Empire, and then Communists denouncing "bourgeois" rule in newly-independent Poland; the opponents of apartheid South Africa and stalinist Poland; and those imprisoned by the United States in Guantanamo Bay detention camp today. Some prisons are well-known; in others, inmates suffered in obscurity. Through self-organization, education, and actions ranging from solitary non-cooperation to mass hunger strikes, these prisoners transform their incarceration and counter states' efforts to control them. While considering the international movements that have sought to publicize the plight of political prisoners, Dance in Chains examines the actions of the prisoners themselves to find universal answers to questions about the meaning and purpose of their imprisonment.
In 1964, in a daring night-time escape, the author and her husband fled Johannesburg and slipped across the border under the eyes of the security police. This autobiography documents her transformation from model school girl to saboteur, and her family's history of flight and exile through the generations.
Hamlet's Dreams brings together the Robben Island Prison of Nelson Mandela and the prison that is Denmark for Shakespeare's Hamlet. David Shalkwyk uses the circulation of the so-called 'Robben Island Shakespeare', a copy of the Alexander edition of the Complete Works that was secretly circulated, annotated and signed by a group of Robben Island political prisoner in the 1970s (including Nelson Mandela), to examine the representation and experience of imprisonment in South African prison memoirs and Shakespeare's Hamlet. The book looks at the ways in which oppressive spaces or circumstances restrict the ways in which personal identity can be formed or formulated in relation to others. The 'bad dreams' that keep Hamlet from considering himself the 'king of infinite space' are, it argues, the need for other people that becomes especially evident in situations of real or psychological imprisonment.
Wide-ranging and engaging, Selves in Question considers the various ways in which auto/biographical accounts situate and question the self in contemporary southern Africa.The twenty-seven interviews presented here consider both the ontological status and the representation of the self. They remind us that the self is constantly under construction in webs of interlocution and that its status and representation are always in question. The contributors, therefore, look at ways in which auto/biographical practices contribute to placing, understanding, and troubling the self and selves in postcolonies in the current global constellation. They examine topics such as the contexts conducive to production processes; the contents and forms of auto/biographical accounts; and finally, their impact on the producers and the audience. In doing so they map out a multitude of variables--including the specific historical juncture, geo-political locations, social positions, cultures, languages, generations, and genders--in their relations to auto/biographical practices. Those interviewed include the famous and the hardly known, women and men, writers and performers who communicate in a variety of languages: Afrikaans, English, Xhosa, isiZulu, Sesotho, and Yiddish. An extensive introduction offers a general framework on the contestation of self through auto/biography, a historical overview of auto/biographical representation in South Africa up to the present time, an outline of theoretical and thematic issues at stake in southern Africa auto/biography, and extensive primary and secondary biographies. Interviewees: Breyten Breytenbach, Dennis Brutus, Valentine Cascarino, Vanitha Chetty, Wilfred Cibane, Greig Coetzee, J. M. Coetzee, Paul Faber, David Goldblatt, Stephen Gray, Dorian Haarhoff, Rayda Jacobs, Elsa Joubert, K. Limakatso Kendall, Ester Lee, Doris Lessing, Sindiwe Magona, Margaret McCord, N. Chabani Manganyi, Zolani Mkiva, Jonathan Morgan, Es’kia Mphahlele, Rob Nixon, Mpho Nthunya, Robert Scott, Gillian Slovo, Alex J. Thembela, Pieter-Dirk Uys, Johan van Wyk, Wilhelm Verwoerd, David Wolpe, D. L. P.Yali Manisi.
This remarkable collection of prison literature inspires with the eloquent idealism of prisoners of conscience through the ages. The contributors include many of the world's finest writers: Wole Soyinka, Primo Levi, Irina Ratushinskaya, Fydor Dostoyevsky, Henry Thoreau. There are moving accounts from victims of the Holocaust, Soviet labour camps and psychiatric prisons, nuclear protestors, civil rights and anti-apartheid activists, anti-colonial nationalists and targets of religious persecution throughout history.
