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Archive for the ‘Africa’ Category

I Will Probably Wrestle with the Notion of Being an African for the Rest of My Life – Ivan Vladislavic

101 DetectivesThe FollyDouble NegativeThe Loss Library The Restless SupermarketPortrait with Keys

 
Ivan Vladislavić recently travelled to the US to launch the North American edition of The Folly and celebrate his 2015 Windham Campbell Prize for Fiction during the Windham Campbell Prize Festival at Yale University.

The esteemed South African writer stopped by Bard College for a special event where he read from his works and discussed his literature and all that it entails with novelist Nuruddin Farah and poet Robert Kelly. Literary Hub transcribed the conversation and have published it on their site.

Farah and Kelly asked a myriad questions, and led the conversation in many incredibly interesting directions. Read the edited transcript to see what Vladislavić said when asked by Farah, “When did you start to think of yourself as an African?”:

I grew up thinking of myself as a South African, with no real sense that this was an exclusionary category. Bear in mind that I was a child in the harshest period of apartheid. I was born in the late 1950s, so I was a child in the particularly repressive period of the 60s, when the opposition had been more or less shattered or forced underground, and people had been driven into exile. I grew up in Pretoria, which was the seat of government, in a very conservative, racist white environment. As I say, my family gave me a rather proud sense of being a South African. I guess the question is whether the “African” in that “South African” had a content that extended beyond the borders of the country, or beyond a narrowly conceived white identity. I certainly didn’t think I was a “European,” although the term was applied to white South Africans. I became conscientized about South Africa and its politics when I went to university in the mid-70s, where questions of identity were being discussed very intensely. There were programs of what we called “Africanization” among white students on some campuses and there were campaigns that drew attention to the fact that as white South Africans, we were not fully rooted in our own space, in our own country. Then I began to think about the idea of being an African —of actually being in Africa—in a different way. Living in a democratic society has given me a different, fuller sense of being an African, partly because our country is more open to seeing itself as part of Africa. Still, it’s not a simple notion for me, and I will probably wrestle with it for the rest of my life.

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Image courtesy of Windham Campbell Prize


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“A Quiet But Determined Relevance”: Green Lion and Tales of the Metric System Under the Microscope

Green LionTales of the Metric SystemJeanne-Marie Jackson recently wrote an article for n+1 about the South African novel of ideas.

Jackson provides an overview of the African literary landscape, outlining the various arguments that encircle how we talk about African writing and singling out “two flawed literary heuristics”: “the universalist argument” and “the plea for infinite variety”. She argues that “another critical tack now might be to consider how African novelists imagine the significance of abstract or de-personified thought”.

Turning the focus to South African literature, Jackson explores the work of Henrietta Rose-Innes and Imraan Coovadia – two authors who have “skirted identity politics in favour of works that foreground how people interact with concepts that they take to exist outside them”.

“Taken in tandem, Coovadia’s Tales of the Metric System and Rose-Innes’s Green Lion amplify the external force of ideas themselves,” she writes.

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Green Lion thus dovetails with Tales of the Metric System in its interest in a literal conservatism—an attempt to press pause on change for just long enough to come to grips with what’s before us—that in the wrong hands could be mistaken for withdrawing from South Africa’s social tumult. Neither novel is satisfied with the flaccid forms or politics of writing against categories, but both are wary of the social and psychic damage that a zeal for firm identities and positions might wreak. Rose-Innes and Coovadia are careful writers: in different ways, they interrogate exactly which practices, values, and objects we want to save or destroy. And in what terms, both ask, with what common metrics do we justify these choices? In light of such searching investigation into how people reconcile their ideas about the world with what it means to inhabit it together, these writers’ identities are the least interesting thing about them. For that, they achieve a quiet but determined relevance.

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Masande Ntshanga: I Find the Category “South African Writer” More Fitting than “African Writer”

The ReactiveMasande Ntshanga chatted to Africa in Words recently about “The Space”, his short story that won the Pen International/New Voices Award, what it was like to be shortlisted for the Caine Prize, and his future plans.

Ntshanga’s debut novel The Reactive was released in October last year, was shortlisted for the Sunday Times Barry Ronge Fiction Prize and has earned two international publishing deals.

When asked what position he see himself in as an African writer, Ntshanga says he finds the label “South African writer” more useful.

Read the interview:

This story also won the Pen International/New Voices Award a few years ago. Based on that experience, and your recent experience of the Caine Prize, do you share some of the anxieties that characterise debate about literary prizes for African fiction?

I don’t. I identify as a South African writer, and for the International New Voices Award the story was nominated under PEN South Africa, which made the experience quite different in orientation from the Caine Prize, which works under the umbrella of African Writing. My fellow nominees, then, were from Canada and Mexico, all of us selected from a global pool, and each with stories that were rooted in our respective communities. In the time preceding that, my work had only gained exposure in South Africa, and as such, had only been read as South African fiction. Even though both terms are abstractions, for a writer pre-occupied with place at the moment, I find the South African label more fitting for my work – in the same way, to return to James Joyce, I prefer to think of him as an Irish author as opposed to a European one. I say this because most of the debates that I’ve encountered are hinged on unpacking the meaning of African Writing in the West’s cultural imagination. That said, I don’t share in on many of the anxieties because I don’t often share a context with this view of African Writing – having lived in South Africa all my life – and as such, am more likely to leave it to the West to take it as a prompt to reflect on whether or not it’s still an accurate and efficient system of categorization. I can only say that it’s probably a prompt worth having.

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“I Grew Up in a Space Where Language Was Alive” – We Need New Names Author NoViolet Bulawayo

We Need New NamesThe German publication DW Akademie caught up with NoViolet Bulawayo on her first visit to Germany to speak about her critically acclaimed novel, We Need New Names.

In the story, Bulawayo shares a personal anecdote about her own name. Her birth name is Elizabeth Tshele but she decided to change it to NoViolet to honour her mother, Violet, who passed away when she was 18 months old. “No” means “with” in Ndebele, she explained, and she chose Bulawayo as her surname after her hometown.

Bulawayo talks about the title of her novel, the turbulence in Zimbabwe that sparked the story, the autobiographical elements and the biggest differences between herself and her protagonist, Darling. “My childhood was very normal and beautiful. Zimbabwe in the 80s was this land of promise,” she says. “But as Darling does not know the stability my generation enjoyed and experienced, her childhood is really under pressure.”

Read the article, in which the author speaks about the beauty of the language in the text, the language of her heart:

The language you chose for your protagonists, the children who live in Paradise, is a mixture of African and English vocabulary, neologisms, incantations, curses. How did you find this strong and colorful language?

I’d say I’m indebted to my culture. I grew up in a space where language was alive. Language was currency. I wanted to write a book that captured that, that would resonate especially with readers coming from that space. And a part of it also came from the fact that I was raised by storytellers, especially my father and my grandmother, of course the women who stayed home when I was growing up, they talked, they gossiped. So I was very conscious of language as a living beast. I wanted the book to be a celebration of that. I wanted that color and that texture and that pulse present.

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NoViolet Bulawayo: My English Gets its Energy from isiNdebele

We Need New NamesIn a recent interview with David Palumbo-Liu for the Los Angeles Review of Books, NoViolet Bulawayo said that her novel We Need New Names continues “the dialogue of the falling apartness of things” that was started by Chinua Achebe.

We Need New Names is set in a decolonised Zimbabwe and interrogates a nation that is no longer in confrontation with the “beast of colonisation”, as Bulawayo puts it, but with the effects of an unraveling system. “The scars are, and will always be there of course, but the beast has changed shape.”

The author talks about the decision to have a young narrator tell the story and explains how isiNdebele will always be the language of telling stories for her.

Bulawayo says her English “definitely gets its energy from my mother tongue, isiNdebele, it being the language that all the different storifying happened in, so that my imagination naturally understands it as the language of telling stories.

“I see its fingerprints in all I do,” she says.

Read the article:

Well that leads to an obvious question, so obvious that I didn’t even write it down initially; but I was just wondering, what authors influenced you?

I like the term “spoke to me” better — and my list includes my favorite Zimbabwean writer, Yvonne Vera, who was especially important to me in my early years. There’s Tsitsi Dangarembga, who wrote one of my favorite books, Nervous Conditions, she is another, and so is Junot Díaz. Toni Morrison, Colum McCann, Zakes Mda, Jhumpa Lahiri, IsiNdebele writers Barbara Makhalisa and NS Sigogo, and many others. And of course, in the list are the many storytellers I’ve known, two of which I mentioned, they are not writers, but when I think about “influences,” I’d say these are even at the top of my list.

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Second International Book Deal for Masande Ntshanga’s The Reactive

The ReactiveGerman publisher Verlag das Wunderhorn has acquired the rights to publish Masande Ntshanga’s acclaimed debut novel The Reactive in Germany.

In May it was announced that North American rights to Ntshanga’s novel had been bought by US publisher Two Dollar Radio.

Ntshanga, who was shortlisted for the 2015 Caine Prize recently, is the winner of the 2013 PEN International New Voices Award. He has also received a Fulbright award, a Mellon Mays Foundation fellowship, and a Civitella Ranieri fellowship in Umbria, Italy.

German editor Manfred Metzner says he is excited to publish The Reactive in translation as part of the publisher’s AfrikAWunderhorn collection.

The Reactive is a poignant, life-affirming story about secrets, memory, chemical abuse and family, and the redemption that comes from facing what haunts us most.

Contracts were negotiated by Aoife Lennon-Ritchie of the Lennon-Ritchie Agency.

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NoViolet Bulawayo to Participate in 38th Annual Writers Week at University of California, Riverside

We Need New NamesThe 38th annual Writers Week hosted by the University of California, Riverside is set to take place from 2 – 5 February and promises to end on a high note with award-winning Zimbabwean author, NoViolet Bulawayo.

The author of We Need New Names joins international wirters like Geoff Dyer, Alan Soldofsky, MariNaomi, Ching-In Chen, Claudia Rankine, Tod Goldberg, Jane Smiley and Mona Simpson on the programme.

Bulawayo is currently a Wallace Stegner Fellow at Stanford University. Her novel has received significant attention since it was published and was included on the shortlist of many respected awards and won a host of literary prizes, including the inaugural Etisalat Prize for Literature. She will be the guest of honour at a Los Angeles Review of Books Dinner the day after her lecture at Writers Week.

Admission to all UCR discussions are free. If you’re in the area, don’t miss this!

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NoViolet Bulawayo the Guest of Honour at Los Angeles Review of Books Luminary Dinner

We Need New NamesZimbabwean NoViolet Bulawayo, author of We Need New Names, will be the guest of honour at a Los Angeles Review of Books Luminary Dinner in America in February.

The dinner will take place on Friday, 6 February. Tickets cost $150 per person and can be bought on the Eventbrite website. The venue is yet to be announced.

We Need New Names has been extraordinarily received abroad, being shortlisted for the Man Booker Prize and the Guardian First Book Award, and won the the inaugural Etisalat Prize for Literature, the 2014 PEN/Hemingway Award for Debut Fiction, the LA Times Book Prize Art Seidenbaum Award for First Fiction and the Zora Neale Hurston/Richard Wright Legacy Award.

Don’t miss it!

Event Details

  • Book tickets on Eventbrite
  • Date: Friday, 6 February 2015
  • Time: 7:00 to 10:00 PM
  • Refreshments: Catered supper
  • Cost: $150 per person, $250 per couple

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Umuzi Authors at Open Book Festival 2014 (17-21 September)

The 2014 Open Book Festival is being held in Cape Town from Wednesday 17 to Sunday 21 September. Umuzi authors to look out for at the festival include Damon Galgut, André Brink, Johan Vlok Louw, Jaco van Schalkwyk, Justin Fox, Diane Awerbuck, Imraan Coovadia, Henrietta Rose-Innes, Tony Park, Meg Vandermerwe, Andrew Salomon and Ivan Vladislavić.

Arctic SummerPhilidaKaroo DuskDie sirkel van bekende dingeDie Alibi KlubThe Alibi ClubWhoever Fears the SeaThe Ghost-Eater and Other StoriesTales of the Metric SystemNinevehDark HeartZebra CrossingTokoloshe SongThe Folly

 

Wednesday 17 September

Writing Sexuality
Venue: Fugard Studio
Price: R40
Time: 2 PM to 3 PM
Damon Galgut, Michiel Heyns and Karina Szczurek speak to Karin Schimke.

Art of the Essay
Venue: Fugard Studio
Price: R40
Time: 4 PM to 5 PM
Imraan Coovadia and Geoff Dyer talk to Hedley Twidle.

Afrikaanse Voorlesing
Venue: Fugard Studio
Price: R40
Time: 6 PM to 7 PM
Kom luister na Andre P. Brink, Karin Brynard, Henry Cloete, Johan Vlok Louw, Jaco van Schalkwyk en Ingrid Winterbach.

Writing to be Read
Venue: Fugard Annexe 2
Price: R40
Time: 6 PM to 7 PM
Andrew Brown, Justin Fox and Fiona Leonard discuss their entertaining, issue driven novels with Diane Awerbuck.

Thursday 18 September

Tribute to Nadine Gordimer
Venue: Fugard Theatre
Price: Free
Time: 2 PM to 3 PM
Imraan Coovadia, Billy Kahora and Margie Orford read from Nadine Gordimer’s work and share stories about her influence on their creative lives. Curated by Karina M Szczurek.

Landscape Architects
Venue: Fugard Annexe 1
Price: R40
Time: 4 PM to 5 PM
Kader Abdolah, Damon Galgut and Marguerite Poland discuss constructing the literary foundations of their respective novels. Chaired by Jacqui L’Ange.

Surprising Diversions
Venue: Fugard Theatre
Price: R40
Time: 6 PM to 7 PM
Rabih Alameddine, Geoff Dyer, Deon Meyer and Henrietta Rose-Innes share a passion unrelated to their work as writers. Chaired by Ben Williams.

Friday 19 September

Wilbur Smith
Venue: Fugard Theatre
Price: R40
Time: 6 PM to 7 PM
After worldwide sales of more than 120 million books, Wilbur Smith launches his latest novel, Desert God, in the company of Kevin Ritchie.

Cry the Beloved Other Country
Venue: Fugard Studio
Price: R40
Time: 6 PM to 7 PM
Distance gives you an edge. Damon Galgut and Zakes Mda talk to Alison Lowry.

Saturday 20 September

The Episodic Novel
Venue: Fugard Studio
Price: R40
Time: 2 PM
Imraan Coovadia (Tales of the Metric System) and Philip Hensher (Emperor’s Waltz) answer questions from Fourie Botha.

IPA 1: Independent Feminist Publishing – Experiences from Around the World
Venue: Fugard Annexe 2
Price: R40
Time: 2 PM to 3 PM
Meg Vandermerwe discusses the experiences of feminist publishers, Susan Hawthorne (Spinifex, Australia), Colleen Higgs (Modjaji, South Africa) and Ritu Menon (Women Unlimited, India).

Under Pressure: Writing the next one
Venue: Fugard Studio
Price: R40
Time: 4 PM to 5 PM
Thando Mgqolozana and Ivan Vladislavic talk to Alison Lowry.

Fantasy and Crime Fiction – 2 sides of the same coin?
Venue: Fugard Theatre
Price: R40
Time: 6 PM to 7 PM
Raymond E Feist, Deon Meyer and Andrew Salomon discuss why crime is at the heart of fantasy and why crime fiction often ends with fantasy. Chaired by Greg Fried.

Writer Sports – Would I lie to you?
Venue: Fugard Theatre
Price: R40
Time: 8 PM to 9 PM
6 Authors, 2 Teams. Some lies. Some truth. Can you tell the difference? Featuring Mike Carey, Imraan Coovadia, Geoff Dyer, Sarah Lotz, Niq Mhlongo & Zukiswa Wanner. Ben Williams – MC.

Sunday 21 September

Because We Can
Venue: Fugard Studio
Price: R40
Time: 12 PM to 1 PM
Geoff Dyer, Mark Gevisser and Ivan Vladislavic try to keep on topic with Bronwyn Law-Viljoen. What topic?

Cutting Edge Fiction
Venue: Fugard Studio
Price: R40
Time: 4 PM to 5 PM
Sarah Lotz, Oliver Rohe and Jaco van Schalkwyk discuss pushing fictional boundaries with Diane Awerbuck.

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Video: NoViolet Bulawayo on Writing, Reading and her Family’s Reaction to her Work

We Need New NamesNoViolet Bulawayo chatted to the American National Book Foundation’s “5 Under 35″ foundation about her writing and reading habits.

Bulawayo was included on the “5 Under 35″ list for 2013 for her debut novel, We Need New Names. In the inteview she speaks about how her work has been received by her family – especially her taciturn father – and when she really started to feel like “a writer”.

When asked about her ideal reading experience, Bulawayo says: “I am looking for a book that doesn’t allow me to put it down. I like to drink my books, I like to inhale them – in one sitting if possible. The last book that did that for me was The Hairdresser of Harare by Tendai Huchu.”

Watch the interview:

NoViolet Bulawayo Interviewed at 2013 5Under35 from National Book Foundation on Vimeo.

 
 
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