This volume contains interviews with fourteen contemporary South African authors: Mariam Akabor, Sifiso Mzobe, Fred Khumalo, Futhi Ntshingila, Niq Mhlongo, Zukiswa Wanner, Nthikeng Mohlele, Mohale Mashigo, Lauren Beukes, Charlie Human, Yewande Omotoso, Andrew Salomon, Imraan Coovadia and Fred Strydom. The conversations with the writers are accompanied by vignettes of the authors' lives and summaries of their works. In curating this book, Danyela Dimakatso Demir and Olivier Moreillon step beyond pure literary theory and analysis by allowing the authors to speak to and assess the literary landscape, of which they form a part and which they co-create. However, Demir and Moreillon also trace concepts and terms that describe the current moment of South African literature, such as post-transitional literature and literature beyond 2000. By adopting a world-literary approach to (post)apartheid literature, this book makes an important contribution to debates on contemporary South African writing that seeks to raise awareness of the imbalance in both critical and public attention between literary 'big names', and the newer generation of South African writers, who go largely unnoticed.

This anthology comprises of interviews with contemporary South African authors, offering vignettes of their lives and summaries of their works. In curating this book, Danyela Demir and Olivier Moreillon step beyond pure literary theory and analysis. They welcome the authors to speak and assess the literary panorama in which they live and co-create. However, Demir and Moreillon also trace concepts and terms that describe the current South African literature, such as post-transitional literature and literature beyond 2000. By adopting a world-literary approach to (post)apartheid literature, this book contributes to debates on contemporary South African writing. In addition, Tracing the (Post)Apartheid Novel Beyond 2000 seeks to raise awareness of the imbalance in both critical and public attention between literary ‘big names’, such as André P. Brink, J.M. Coetzee, Nadine Gordimer and Zakes Mda, who are popular worldwide, and the younger and newer generation of South African writers, who go largely unnoticed. Print edition not for sale in Sub Saharan Africa.

Post-Apartheid Gothic: White South African Writers and Space analyzes the representation of space in recent works by South African writers. By combining analytical tools borrowed from Gothic studies with geocritical and postcolonial approaches, Mélanie Joseph-Vilain assesses the literary mechanisms utilized by Damon Galgut, Henrietta Rose-Innes, Lauren Beukes, Justin Carwright, and Lynn Freed to negotiate the complexities of post-apartheid identities in their fiction. Joseph-Vilain argues that the literary representations of emblematic places, real or imagined (the home, the farm, the city or the “non-places” of dystopia), express and reveal anxieties linked to the sharing of space in post-apartheid South Africa. The text successively (re-)visits the places that have been shaping South African white writing since Olive Schreiner’s African Farm—in other words, its topoi, both in the etymological sense of “place” and in the literary sense of recurring themes or arguments. Joseph-Vilain argues that these Gothicized topoi have provided writers with tools to explore the deep anxieties generated by the redefinition of South African society as the Rainbow Nation. While focusing specifically on the South African avatars of the Gothic and their interaction with local forms and genres like the plaasroman, the text also discusses the impact of globalization on South African literary, cultural, social, and political identities.

The United Nations’ declaration of 2009 as the International Year of Reconciliation is testimony to the growing use of historical commissions as instruments of reconciliation in post-conflict societies. Since the South African Truth and Reconciliation Commission (TRC) has had a profound impact on international efforts to deal with the aftermath of mass violence and societal conflict, this is an appropriate time for scholars to debate and reflect on the work of the TRC and the wide-ranging scholarship it has inspired across disciplines. With a foreword by Harvard Law Professor Martha Minow, Memory, Narrative, and Forgiveness: Perspectives on the Unfinished Journeys of the Past offers readers a front-row seat where a team of scholars draw on both theoretical analysis and case studies from around the world to explore the themes of memory, narrative, forgiveness and apology, and how these themes often interact in either mutually supportive or unsettling ways. The book is a vibrant discussion by scholars in philosophy, psychology, psychoanalytic theory, history, literary theory, and Holocaust studies. The authors explore the complex, interconnected issues of trauma and narrative (testimonial and literary narrative and theatre as narrative), mourning and the potential of forgiveness to heal the enduring effects of mass trauma, and transgenerational trauma-memory as a basis for dialogue and reconciliation in divided societies. The authors go well beyond the South African TRC and address a wide range of historical events to explore the possibilities and the challenges that lie on the path of reconciliation and forgiveness between victims, perpetrators, and bystanders in societies with a history of violent conflict and unspeakable injustice. The book provides readers with a cohesive, theoretically well-grounded analysis of the impact of traumatic memories in the personal and communal lives of survivors of trauma. It explores how narrative may be creatively applied in processes of healing trauma, and how public testimony can often restore the moral balance of societies ravaged by trauma. The book deepens understanding of the ways in which lessons from the TRC might be developed and both usefully and cautiously applied in other post-conflict situations.

This book reflects on South African literature from the perspective of 2020. It emerges from Duncan Brown’s experiences of three decades of working in this field of writing and scholarship. It is a personal intellectual exploration and an engagement with the institutional history of literary studies in South Africa and elsewhere. Finding My Way also attempts to find more creative, engaging and intriguing modes of writing about literature and the humanities universally. It seeks to recover a sense of the imaginative, the literary, and the affective, not only as things to value in the literary texts we read but also as ways of understanding and reading texts, as ways of writing criticism—of registering how books make us feel, as well as how they make us think. Print edition not for sale in Sub Saharan Africa.

This study analyses the representation of Durbanite and Capetonian urban spaces in the following selection of post-apartheid works: Mariam Akabor's "Flat 9", Rozena Maart's "Rosa's District Six", Johan van Wyk's "Man Bitch", K. Sello Duiker's "Thirteen Cents", Bridget McNulty's "Strange Nervous Laughter", and Lauren Beukes' "Moxyland". The focus lies on the interrelatedness of shifting post-apartheid subjectivities and urban space (and place) in these literary works. The analysis not only grants access to different 'new voices` of post-apartheid literature, it also sheds light on the perception of South African history, urban geography, and cultural topography - essentially, on real as well as imagined South African urban spaces - as the literary representations of city-spaces become archives of cultural transformation processes; a gateway to the understanding of the developments and changes of, and within, the two cities in question.

This book considers the key critical interventions on short story writing in South Africa written in English since the year 2000. The short story genre, whilst often marginalised in national literary canons, has been central to the trajectory of literary history in South Africa. In recent years, the short story has undergone a significant renaissance, with new collections and young writers making a significant impact on the contemporary literary scene, and subgenres such as speculative fiction, erotic fiction, flash fiction and queer fiction expanding rapidly in popularity. This book examines the role of the short story genre in reflecting or championing new developments in South African writing and the ways in which traditional boundaries and definitions of the short story in South Africa have been reimagined in the present. Drawing together a range of critical interventions, including scholarly articles, interviews and personal reflective pieces, the volume traces some of the aesthetic and thematic continuities and discontinuities in the genre and sheds new light on questions of literary form. Finally, the book considers the place of the short story in twenty-first century writing and interrogates the ways in which the short story form may contribute to, or recast ideas of, the post-apartheid or post-transitional. The perfect guide to contemporary short story writing in South Africa, this book will be essential reading for researchers of African literature.