For 40 years, between 1900 and 1939, John Solilo (1864-1940) was a prolific contributor to Xhosa-language newspapers under his own name and under the pseudonyms Mde-ngelimi (Master Wordsmith) and Kwanguye (It's Still Him). He submitted letters and articles on a variety of issues, local news reports from Cradock and Uitenhage, and a considerable body of poetry. Solilo's major literary contribution was his collection of poems entitled Izala, published in 1925, the earliest volume of poetry by a single author in the history of Xhosa literature. His poetry was inspired by umoya wembongi, the spirit of the imbongi, the praise poet whose stirring declamations roused his audiences to action or contemplation. Solilo's literary reputation today, however, is at variance with his prominence as a major author in the first four decades of the twentieth century: he is hardly mentioned, if at all, by literary historians. That neglect is perhaps not surprising: Izala has long been out of print, and copies can no longer be located. The present volume is therefore an exercise in reclamation and restitution. In restoring to the public domain the 65 poems that made up Izala and adding an additional 28 that were published in newspapers both before and after the appearance of Izala, the editors hope to revive John Solilo's reputation as a poet, and to establish his status as a pre-eminent Xhosa author. Jeff Opland commenced his academic career as a medievalist, but for the past 40 years he has assembled a collection of oral and printed poetry and has devoted himself to defining and restoring the heritage of literature in the Xhosa language. Amongst other works, with Peter Mtuze he edited two anthologies of Xhosa literature, Isigodlo sikaPhalo (1983) and Izwi labantu (1994). Opland is currently Visiting Professor in the School of Languages: African Language Studies at Rhodes University. Peter T. Mtuze is the most prolific living isiXhosa writer. He has authored and co-authored no fewer than 30 books. His main contribution is in creative writing: he has produced novels, short stories, essays, drama, poetry, autobiography and language books. Mtuze's first book, UDingezweni, which appeared as far back as 1966, is regarded as a classic novel. One of his singular achievements was his translation of former President Nelson Mandela's autobiography, Long Walk to Freedom, into isiXhosa. He worked on the University of Fort Hare Xhosa Dictionary Project, at the University of South Africa and at Rhodes University, where he retired as Professor Emeritus. (Series: Publications of the Opland Collection of Xhosa Literature, Vol. 3) [Subject: Poetry, African Studies]

Xhosa oral poetry has defied the threats to its integrity over two centuries, to take its place in a free South Africa. This volume establishes the background to this poetic re-emergence, preserving and transmitting the voice of the Xhosa poet.

From an array of prominent activists including Nelson Mandela and Steve Biko to renowned performers and oral poets such as Johnny Dyani and Samuel Mqhayi, the Eastern Cape region plays a unique role in the history of South African protest politics and creativity. The Spirit of Resistance in Music and Spoken Word of South Africa's Eastern Cape concentrates on the Eastern Cape's contribution to the larger narrative of the connection between creativity, mass movements, and the forging of a modern African identity and focuses largely on the amaXhosa population. Lindsay Michie explores Eastern Cape performance artists, activists, organizations, and movements that used inventive and historical means to raise awareness of their plight and brought pressure to bear on the authorities and systems that caused it, all the while exhibiting the depth, originality, and inspiration of their culture.

In the years between the Sharpeville Massacre of 1960 and the Soweto Uprising of 1976—a period that was both the height of the apartheid system in South Africa and, in retrospect, the beginning of its end—Harold Scheub went to Africa to collect stories. With tape-recorder and camera in hand, Scheub registered the testaments of Swati, Xhosa, Ndebele, and Zulu storytellers, farming people who lived in the remote reaches of rural South Africa. While young people fought in the streets of Soweto and South African writers made the world aware of apartheid’s evils, the rural storytellers resisted apartheid in their own way, using myth and metaphor to preserve their traditions and confront their oppressors. For more than 20 years, Scheub kept the promise he made to the storytellers to publish his translations of their stories only when freedom came to South Africa. The Tongue Is Fire presents these voices of South African oral tradition—the historians, the poets, the epic-performers, the myth-makers—documenting their enduring faith in the power of the word to sustain tradition in the face of determined efforts to distort or eliminate it. These texts are a tribute to the storytellers who have always, in periods of crisis, exercised their art to inspire their own people.