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Archive for the ‘Reviews’ Category

16 Days of Activism and South African Contemporary Fiction

Glowfly DanceWhat About MeeraMy Children Have FacesBirdseyeSister Moon

By Jennifer Crocker

Every year from 25 November, for 16 days, South Africa highlights activism against gender violence, and every year comments are made in the media about how this campaign does not make any real difference to those who have the very fabric of their lives torn apart by domestic violence, because we are told that we have more to fear from those we know than from strangers – a sober thought indeed.

In addition to using just 16 days to highlight this scourge, there are other ways in which people are creating awareness of the fragility of many people’s lives as a result of domestic violence. One is through literature, music, theatre and the arts. From time immemorial authors, philosophers and commentators have written about the issues around them, often weaving entertainment with harsh realities into what become cautionary tales. For many of us, the messages that resonate most are those conveyed through stories.

The South African publishing industry appears to be on the cusp of taking the publishing world by storm, with publishers pushing the boundaries and bravely bringing books to the reading market that stir the conscience.

A number of novels have been published that tackle the issue of domestic violence and abuse – bearing in mind that abuse is not always only physical, it also does not only affect women (although women are most often its victims), and almost universally it causes a sense of shame.

When novelists bring these stories out into the scrutiny of the light, and allow themselves the freedom of created characters to portray the horrors that are perpetuated on a daily basis, not just for 16 days of a year, we are drawn into stories that are as captivating as they are instructive. Discussions that follow from the reading of these books often allow those who have suffered – or continue to suffer – from abuse to share their experiences in a safe place for the first time.

Glowfly DanceGlowfly Dance by Jade Gibson (Umuzi, 2015) is one such book. Gibson begins the novel by setting up a perfect storm, and introducing the destruction of the life of a young girl, Mai, the voice through which the story is told. Mai lives with her mother and sister Amy. She is a happy little girl. She doesn’t know who her father is, but she has her mother and her quirky grandfather. The family is not rich in monetary terms, but they have flowers and games and love. When her mother meets Rashid, this all changes; Rashid, with his red car, is an abuser of children and women. Through the beauty of the writing Gibson shows us how a happy – if unusual – family is decimated by one man’s cruelty. How cunning and coercion can make you flee your happy place and put you on the bottom rung of society. It’s a brilliant and brave book, and carries across the message that violence in a family does only one thing: it destroys hope. And hope, once broken, is lost. Rashid is one of those men we will remember long after we have put down Gibson’s book; he’ll remain in our memories as the man who stole innocence in a whirlwind of cruelty and pain.

What About MeeraWhat About Meera (Umuzi, 2015) tells the story of a young woman who is happy in her life in rural KwaZulu-Natal, until she is forced to marry a man of status, a doctor. Her loveless marriage becomes a thing of entrapment and horror. Meera flees her life with him, but is judged and becomes a shame to her family. Events spiral out of control when she travels to Dublin and does a stupid and dangerous thing from a place of desperation. The book is essentially about the loss of innocence through neglect and cruelty. In a case of life imitating art, author ZP Dala was attacked after a literary festival in Durban, apparently by a group of men who took offence to her support of Salman Rushdie, and hit her in the face with a brick. One is tempted to think that the real world may intersect with the imagined world, for violence was done to a novelist by those wielding power. And abuse is about violence and exerting power over others. What About Meera also addresses the fact that the survivors of domestic abuse are often also victims of abuse within the wider family unit, either wittingly, to keep up appearances, or unwittingly, because they refuse to see what is happening.

My Children Have FacesIn Carol Campbell’s book My Children Have Faces (Umuzi , 2013), we are taken to the edges of suffering in the Karoo, where a family has fled to escape the brutality of Miskiet, a murderer and a rapist who lives in the small town they have left. When Muis’s husband takes his ragged family back to the town, Miskiet is waiting for them. He sees Muis as a “dried out whore” but he has not forgotten her. While he still has the power to strike fear into her, he does not have enough power to stop her from doing the one thing she wants to do: get identity documents for her children so that they have a chance in life. It’s a wonderfully crafted tale spun from a composite group of people the author came to know in a little Karoo town. Muis has power, but it comes at great cost. It is price she is prepared to pay, but one that no person should be asked to pay.

BirdseyeSister MoonMáire Fisher broke our hearts in her novel Birdseye (Umuzi, 2014), where violence perpetuated against little boys shows the ugly face of almost random violence, while in Kirsten Miller’s Sister Moon (Umuzi, 2104) the reader is confronted by familial complicity where the sexual abuse of a young girl is ignored because of financial dependency on the perpetrator. The shockwaves of the abuse reverberate through the family for decades.
Albert Camus said, “Fiction is the lie through which we tell the truth.” It has a ring of truth to it, because heaven knows we need as many ways as possible to address the horrible truth that lies behind violence and abuse. And not just for 16 days, but every day. There is a reason that text in books is always referred to in the present tense: it exists as a reality when a book is both closed and open. By opening up the reality of abuse and exposing it through literature, another arrow is added to the quiver exposing it in all its horror. Thank goodness we have authors who do that for us.

The 16 Days of Activism for No Violence Against Women and Children campaign runs from 25 November to 10 December 2106.

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George RR Martin Thinks You Should Read Broken Monsters by Lauren Beukes

Broken MonstersLauren Beukes Broken Monsters has been reviewed by none other than George RR Martin, superstar author of the A Song of Ice and Fire series that spawned Game of Thrones, one of the most popular television programmes ever created.

Martin included Beukes’ latest book on his list of nine “recent science fiction and fantasy recommendations”.

Beukes’ tweeted her elation:


* * * * *

Read what Martin had to say about Broken Monsters:

Martin’s Verdict: “Set amidst the urban decay of contemporary Detroit, this one has a vivid sense of place and a colorful and interesting cast of characters, but it gets very strange at the end, where the Lovecraftian elements come to the fore… I found it an engrossing read all the same, and I will be looking forward to whatever Lauren Beukes does next. She’s a major, major talent.”

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John Maytham: Beverly Rycroft’s A Slim, Green Silence is Written With a Poet’s Sensibility

A Slim, Green SilenceCapeTalk’s John Maytham recently reviewed A Slim, Green Silence – the debut novel by award-winning poet Beverly Rycroft – calling it a “delicious” book.

Rycroft captures and describes the small Eastern Cape town of Scheeperstown “beautifully”, says Maytham, and transports the reader to the rural area in question. He gives a breakdown of the story and says, in closing:

“It’s written with a poet’s sensibility, and it’s just a joy to read.”

Maytham’s discussion of A Slim, Green Silence starts at 3:10. Listen to the podcast:


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Art-Movie-Book on The Space Between the Space Between by John Hunt: Read This Book!

The Space Between the Space BetweenThe Space Between the Space Between by John Hunt was launched in Johannesburg recently at the Circa Gallery in Rosebank. Art-Movie-Book attended the affair and took some magnificent photos of the author and guests and has offered a raving review of the novel.

“I want to stand on the rooftops and shout from the top of my lungs: READ THIS BOOK SOUTH AFRICA!!! It is clever, funny and cool; everything a brilliant piece of fiction should be! But more than that, it is the beginning of a roadmap to a better South Africa,” the reviewer writes on their site.

Visit Art-Movie-Book to view the images:



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French Reviews of Killer Country by Mike Nicol (They Like It a Lot!)

PaybackKiller CountryBlack Heart

Killer Country, the second book in Mike Nicol‘s Revenge Trilogy, was published in French in September 2014 by Ombres Noires, translated by Estelle Roudet. It was very well received, with positive reviews in respected publications.


Encore du Noir, a blog dedicated to crime fiction, says that this thriller comes highly recommended, and notes that they really like the brutal way in which Nicol paints the realities of South Africa – a country where everybody pretends to have left the past behind.

Grab your French lover and have him/her read this article for you, or, if you must, do a quick Google translate to get the gist of it:

Deuxième volet de la trilogie annoncée par l’auteur, Killer Country emmène donc dorénavant le lecteur en terrain connu[1] après La dette. Et les héros, Pylon et Mace, ancien combattants de la Cause chargés des basses œuvres et trafiquants d’armes reconvertis dans la sécurité pour touristes aisés et hommes d’affaires, tout comme leur ennemie jurée Sheemina February, qui a eu le malheur de passer entre leurs mains du temps où ils combattaient dans la clandestinité, sont maintenant bien campés.

Quatre Sans Quatres, a literary online magazine, praises Nicol’s brutal honesty about the flaws of his country, noting that his raw, direct approach and rich language makes this a powerful novel. “The story is complex, passionate, violent, of course, but without ever being over the top,” writes the French Nicol enthusiast.

“A thriller jam-packed with good qualities and music, with everything you need to delight fans of the genre and seduce those looking for action and a change of scenery.”

If you can, read the article (or simply scroll down and listen to some of the tracks Nicol used in the book):

L’histoire est multiple, passionnante, violente, évidemment, mais sans en faire trop. Mike Nicol relate, il n’amplifie pas à plaisir. L’intrigue, rudement bien menée, pleine de fausses pistes, d’hypocrisie, de jeux dangereux garde toute sa vitalité et son suspense jusqu’à la dernière page d’un roman très bien traduit.

Un thriller bourré de qualités et de musique avec tout ce qu’il faut pour ravir les amateurs du genre et séduire ceux qui cherchent de l’action et du dépaysement.

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Review Round-up: Lauren Beukes’ The Shining Girls Wins Over the World

The Shining GirlsNot only has Lauren Beukes’ latest novel, The Shining Girls, gained great success locally, the tale of the time-travelling serial killer has also been raking in rave reviews from all over the world.

We’ve compiled a selection of reviews from the UK, America, Australia, France and the Netherlands, including ones in such prestigious publications as The New York Times, Salon, The Guardian and The Independent UK.

In The New York Times Janet Maslin says Beukes has “a gift for killer dialogue”:

The year is 1974. A precocious little girl is playing outdoors with a toy circus she’s built when a spooky gent with a limp approaches her. She shows him the bumblebee that, in her imagination, is a lion. He pulls its wings off. He would hurt her too, but little girls bore him.

“I’ll see you when you’re all grown-up,” he promises. “Look out for me, O.K., sweetheart? I’ll come back for you.” Thirteen years later he does.

Thus begins “The Shining Girls,” Lauren Beukes’s strong contender for the role of this summer’s universal beach read. Ms. Beukes is a South African whose earlier works have been closer to hard-core science fiction, but “The Shining Girls” is pure thriller. The Irish writer Tana French, no slouch at transfixing and scaring readers, may have spoken for us all when she said of this expert hair-raiser: “It creeped the holy bejasus out of me.”

Salon lists The Shining Girls as one of their best summer reads:

Time travel and serial killers: two fictional motifs that so often disappoint for very different reasons. Beukes, however, has fused them into a soulful puzzle novel with an evocative final twist. The killer, Harper, a lost man from the Great Depression, stumbles into a Chicago row house that, when exited again, will deposit you anywhere between 1931 and 1993. Harper jumps the decades in search of his preferred victims, girls and young women he perceives as “shining”; they are in fact burgeoning artists, scientists and activists, and the glow he sees is a visual manifestation of their promise

Roz Kaveney commends Beukes in The Independent UK for making her monster “both a real character into whose heart we look deeply – and are utterly repelled by – and a symbolic representation of the misogyny that has always stopped so many talented women fulfilling their potential”.

To begin with, Lauren Beukes had an idea so perfectly simple it sounds like an elevator pitch: “time-travelling serial killer”.

She then had the good sense to make it the premise from the start rather than the big reveal at the end. The crucial thing with good ideas is to let them breathe. Beukes does this: she doesn’t make the mistake of trying too hard to make the house containing the door that opens through time to other eras make too much sense. This is a book about the paradoxes inherent in time travel – the things that make it more appropriately the subject of dark fantasy rather than science fiction.

Annalee Newitz declares in a review for io9 that “The Shining Girls is one of the best serial killer tales ever written”:

Lauren Beukes won critical acclaim for her first two novels, Zoo City and Moxieland, both of which were urban fantasies set in her native South Africa. Now she’s set her imagination loose on a different continent, to explore the inner life of a serial killer in Chicago who figures out how to travel through time. The Shining Girls is a must-read.

Harper is an emotionally damaged former soldier, who has returned from World War I shattered and bloodthirsty. When at last his inner turmoil explodes into murder, he stumbles across a bizarre house while fleeing from the cops. From the outside, it’s battered and boarded up, but inside it’s luxurious and packed with hidden stashes of money. Though Harper enters the house during the winter of 1931, he can exit it at any time in the future — all the way up through 1993.

When reading The Shining Girls, Alison Flood of The Guardian says “you’re in for a wild, brutal ride through the 20th century, in the company of one of the sarkiest, most resilient heroines you’re likely to meet this year”:

Harper is not your average serial killer. “How old are you?” he asks Kirby Mazrachi, a grubby six-year-old with crazy hair who grows up to become the kickass star of Lauren Beukes’s The Shining Girls. Then he gives her an orange plastic pony. “Here we go. Round and round, like your ferris wheel. I’ll see you when you’re all grown-up. Look out for me, OK, sweetheart? I’ll come back for you.”

Harper, you see, can time travel (imagine the psychological tortures Hannibal Lecter could have imposed on Clarice Starling if he’d been party to this gift). A penniless, murderous war veteran in 1930s Chicago, he stumbles into an abandoned house and finds his destiny.

“By turns brilliant, brutal and riveting, in all its puzzling mystery, The Shining Girls is testimony to the promiscuous hybridity of the contemporary crime novel,” writes Sue Turnbull in The Sydney Morning Herald:

As a serial killer thriller, The Shining Girls is generically familiar and yet so very strange. Instead of the gradual unfolding of a crime (or crimes) that advances the action while revealing the secrets of the past, here the chronology loops the impossible loop.

Let’s start with the familiar. Harper Curtis is the kind of serial killer with whom we are well acquainted. True to type, he begins young, torturing small animals as a distraction from his dismal domestic circumstances.

In a Dutch review for Stoerboek, Marcel van Driel calls The Shining Girls a gripping story, with a great female lead character.

Het zijn van die boeken waarvan de roem zich al vooruit snelt. Vorig jaar was dat ‘De Bijzondere Kinderen Van Mevrouw Peregrine’ en in 2011 ‘Het Nachtcircus’. Dit jaar gaat iedereen het hebben over ‘The Shining Girls’ van Lauren Beukes.

Beukes is een Zuid-Afrikaanse schrijfster die naam maakte met de cyberpunkroman ‘Moxyland’ en de Arthur C. Clarke Award won voor haar opvolger ‘Zoo City,’ (een boek dat op het punt stond om ‘out-of-print’ te raken, toen ze de prijs won). In eerste instantie hoorde ik over haar, omdat ik de volgende quote tegenkwam op internet en gebruikte in mijn boek ‘Waanzinnige Plannen’:

A French review for the Action-Suspense blog says The Shining Girls is a thriller worthy of Stephen King:

Chicago, novembre 1931. Auteur d’une altercation mortelle, Harper Curtis prend la fuite. Il est pourchassé dans Grant Park, où se sont réfugiés les miséreux, victimes de la Grande Dépression. Frôlant le lynchage, il est seulement blessé au pied. Harper réussit à se faire soigner au Mercy Hospital. À sa sortie, il est comme guidé vers un quartier très pauvre de la ville. Une maison, dont il a dérobé la clé à une victime, semble l’attendre. Le cadavre fraîchement assassiné d’un certain Bartek, peut-être le propriétaire du lieu, gît dans cette maison. Harper y trouve aussi une valise pleine de dollars en gros billets, un vrai pactole. Il découvre là une chambre étrange, tel un mausolée dédié à la mort de plusieurs femmes. Face à ces noms féminins qu’il a tracés, aux objets hétéroclites qu’il doit laisser près des corps, une pulsion habite le violent Harper. C’est la Maison qui lui réclame de les tuer.

S’attaquer à La Luciole, danseuse de cabaret, lui laisse quelques séquelles physiques supplémentaires. Toutefois, les victimes à venir ne vivent pas uniquement à son époque. Grâce à la Maison, il voyage à volonté dans le temps. Quand il ouvre la porte, c’est sur l’année qu’il a choisi entre 1929 et 1993. Ce qui lui permet d’approcher d’abord ces filles, plus ou moins longtemps avant le moment où il a décidé de les assassiner. C’est le cas de l’étudiante en sociologie Jin-Sook, repérée dès 1988, cinq ans avant de la tuer. Ou de Zora, jeune Noire croisée dès 1932, qu’il ne supprimera qu’en 1943, alors veuve et mère de famille. Et de l’ambitieuse étudiante Julia Madrigal, supprimée en 1984. Ou de Willie Rose, employée d’un cabinet d’architecture, proche des idées sociales, en 1954. Et d’une Catherine, d’une Margo, de toutes celles dont la Maison exige le sang.

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Video: André Brink’s Philida Discussed on The County Channel’s Your Book Show

PhilidaAndré Brink’s Philida, which was longlisted for the 2012 Man Booker Prize, was recently reviewed by Robert Harper and Vicki Archer on the Shropshire County Channel’s Your Book Show.

Archer said, “It is a very hard book to read, a very uncomfortable read, but a very necessary one.”

The County Channel

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‘n Kortverhaal uit en ‘n resensie oor Oulap se blou deur Chris Barnard

Chris Barnard Oulap se blou deur Chris Barnard het reeds vele positiewe resensies ontvang. Dit is ook die boek wat gekies is as die boek van die maand vir die Boeke Insig Boektafel.

Dit is ‘n bundel kortverhale, deursprinkel met nostalgiese stories en ‘n móét-lees vir almal, maar veral vir Afrikaners en dié wat hou van goeie Afrikaans:

Hieronder is een storie uit De Kat om te lees en nog ‘n resensie op die webblad, jouWêreld jou e-tydskrif. Lekker lees:

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It’s Cricket Season: Hope No One Gets Caught Out

Caught OutWith the Windies touring South Africa – and treating spectators to a tense and intruiging test series – some of the pain of last year’s disastrous Cricket World Cup will undoubtedly start to melt away.

Then again, the events of last March and April, which saw the horrific death of Pakistan’s coach Bob Woolmer cap two months of poor crowds and organisational disarray, can never be far from cricket lovers’ thoughts.

There is the tension and intrigue of a cricket match – and then there is the tension and intrigue of the shadowy world of cricket match fixing, which Laurie Claase’s new book Caught Out shows is pernicious and rife, and which many have associated with Woolmer’s death. Indeed, Claase’s meticulously-researched work will leave you wondering, to paraphrase reviewer Hilary Venables, whether there is any cricket that isn’t tampered with.

Venables’ substantial and considered article on Caught Out can be found in the first Noseweek of 2008, out now. Here’s a sample:

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