A History of South African Literature

Front Cover
Cambridge University Press, Nov 18, 2004 - Literary Criticism
This book is a critical study of South African literature, from colonial and pre-colonial times onwards. Christopher Heywood discusses selected poems, plays and prose works in five literary traditions: Khoisan, Nguni-Sotho, Afrikaans, English, and Indian. The discussion includes over 100 authors and selected works, including poets from Mqhayi, Marais and Campbell to Butler, Serote and Krog, theatre writers from Boniface and Black to Fugard and Mda, and fiction writers from Schreiner and Plaatje to Bessie Head and the Nobel prizewinners Gordimer and Coetzee. The literature is explored in the setting of crises leading to the formation of modern South Africa, notably the rise and fall of the Emperor Shaka's Zulu kingdom, the Colenso crisis, industrialisation, the colonial and post-colonial wars of 1899, 1914, and 1939, and the dissolution of apartheid society. In Heywood's study, South African literature emerges as among the great literatures of the modern world.

From inside the book

Selected pages

Contents

Introduction communities and rites of passage
1
Poetry before Sharpeville singing protest writing
29
Theatre before Fugard
72
Prose classics Schreiner to Mofolo
87
Fiction of resistance and protest Bosman to Mphahlele
111
Poetry after Sharpeville
145
Theatre Fugard to Mda
178
Novels and stones after 1960
194
Notes
236
Glossary
250
Select bibliography
254
Index
287
Copyright

Other editions - View all

Common terms and phrases

Popular passages

Page 82 - at one's self through the eyes of others, of measuring one's soul by the tape of a world that looks on in amused contempt and pity.
Page 133 - If thou seest the oppression of the poor, and violent perverting of judgment and justice in a province, marvel not at the matter
Page 9 - mode of life and habits, and even the nature of their country, so nearly correspond to those of the ancient Israelites, that the very same scenes are brought continually, as it were, before our eyes, and vividly realised in a practical point of view, in a way in which an English student would scarcely think of looking at them.
Page 91 - The dear Lord doesn't send dreams for nothing. Didn'tI tell you this morning that I dreamed of a great beast like a sheep, with red eyes, and I killed it? Wasn't the white wool his hair, and the red eyes his weak eyes, and my killing him meant marriage?
Page 31 - while I listen along the road, while I feel that my name floats along the road; they (my three names) float along to my place; I will go to sit at it; that I may listening turn backwards with my ears to my feet's heels, on which I went; while I feel that a story is the wind.
Page 97 - This book has been written with two objects in view, viz. (a) to interpret to the reading public one phase of “the back of the Native mind”; and (b) with the readers
Page 167 - in its own eyes. I am not a potentiality of something, I am wholly what I am.. . My Negro consciousness does not hold itself out as a
Page 97 - By the merest accident, while collecting stray scraps of tribal history, later in life, the writer incidentally heard of ‘the day Mzilikazi's tax collectors were killed.' Tracing this bit of information further back, he elicited from old people that the slaying of Bhoya and his companions, about the year 1830, constituted the casus
Page 101 - it is an honour to one of these girls to have a child by a white man, and it is a degradation to him to marry a dark
Page 8 - Negroes were understood to be the offspring of Cain, their blackness being the mark God set upon him after he murdered Abel his brother.

Bibliographic information