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| which magazine did can themba work for: Can Themba Siphiwo Mahala, 2022-03-30 Mahala's biography gives insight into the life and writing of Can Themba (1924-1967), an iconic figure of the South African literary world and Drum journalist who died in exile Can Themba: The Intellectual Tsotsi, a Biography brings to life the iconic South African writer and journalist, Can Themba, (21 June 1924 - 8 September 1967) who died while exiled in Swaziland in 1967. Best known for his classic short story, 'The Suit', Themba has been somewhat of an enigma, with very little known about his personal life. This biography brings forth the voices of those who had personal interactions with him, shining the light on different aspects of his life including education, literature, journalism and political fraternities. It features interviews with prominent individuals including his former students, Abdul Bham, Pitika Ntuli, and Mbulelo Mzamane; journalistic mentees Juby Mayet and Joe Thloloe; as well as friends, colleagues and contemporaries Parks Mangena, Peter Magubane, Jurgen Schadeberg, Don Mattera, and Nadine Gordimer; in addition to artists and academics Mothobi Mutloatse, Muxe Nkondo and Njabulo S. Ndebele. Also featured in this biographical text are veteran political figures such as Mangosuthu Buthelezi, Lindiwe Mabuza and Ahmed Kathrada. Themba's intellectual acumen, scholarly aptitude and witticism are some of his most revered characteristics amongst those who had interactions with him either in person or through comprehensive reading of his works. Mahala is a master storyteller and deftly weaves together the threads of Themba's dynamic life. In this edifying biography Mahala recreates the sparkle and pathos of Sophiatown of the 1950s and the Drum era. Can Themba's successes and failures, as well as his triumphs and tribulations reverberate on the pages of this long-awaited biography. |
| which magazine did can themba work for: House of Truth & Bloke and His American Bantu Siphiwo Mahala, 2025-02-01 Siphiwo Mahala delves into the lives of iconic figures from South Africa's tumultuous past in this remarkable collection of plays. The collection opens with The House of Truth, which explores the complexity of Can Themba, a fearless journalist, playwright and poet living under an oppressive apartheid regime. The one-man play weaves together elements of Themba's life and career, recreating the excitement and pathos of the DRUM era South Africa's first magazine for a black audience, and his resident neighborhood, Sophiatown in Johannesburg, before it was destroyed by apartheid legislation. Themba is brought back to life as an ordinary person with human flaws and attributes both tragic and inspirational. In the second play, Bloke and His American Bantu. Mahala brings to life the extraordinary lives of Bloke Modisane, a South African writer exiled in London, and Langston Hughes, the renowned American poet. This two-hander play celebrates their remarkable camaraderie and intellectual exchange. Through a reimagined correspondence, the play deftly explores how a simple friendship blossomed into a catalyst for international solidarity and cultural exchange across continents, from Africa to the UK to America. As a whole, the plays explore the intersections of identity, creativity and resistance. With wit, poise, and unflinching honesty, they bring to life the triumphs and struggles of these remarkable men who left an indelible mark on their worlds, and celebrate the human spirit's capacity to persevere, inspire and uplift. |
| which magazine did can themba work for: Athol Fugard Alan Shelley, 2009-04-30 A playwright whose work is appreciated on a global scale, Athol Fugard's plays have done more to document and provide a cultural commentary on Apartheid-era South Africa than any other writer in the last century. Using mostly migrant workers and township dwellers, and staging guerrilla-raid productions in black areas, Fugard frequently came into conflict with the government, forcing him to take his work overseas. Consequently, powerful plays such as The Blood Knot, Sizwe Banzi is Dead, and Master Harold... and the boys came to broadcast the inequities of the Apartheid-era to the world. Fugard's work retains an insistent influence, and is studied and performed the world over. Alan Shelley's study is an accessible but profound analysis of the man, his work and its influence, the social injustices that drive him, and the lives of those who people his remarkable plays. |
| which magazine did can themba work for: European-language Writing in Sub-Saharan Africa Albert S. Gérard, 1986 |
| which magazine did can themba work for: Hospitality and Hostility in the Multilingual Global Village Kathleen Thorpe, Anette Horn, Alida Poeti, V‚ronique Tadjo, 2014-08-01 This interdisciplinary, international, and multi-lingual collection of essays explores a broad range of issues related to hospitality and hostility, in literary and cultural contexts from antiquity to the present. Insightful theoretical and historical discussions undergird richly detailed particular studies. The central focus unifies the diverse pieces, which are original, well-researched and reasoned, and clearly written. A solid contribution to scholarship in several fields (including linguistics, anthropology and Internet culture), the volume is also enjoyable to read. Its lively and appealing pieces on recent novels and contemporary trends lend a fresh and contemporary feel. -ÿProf. Pamela S. Saur, Lamar University, Texas |
| which magazine did can themba work for: Readings in African Popular Fiction Stephanie Newell, 2002 ... a useful introduction to an important field of African creative writing that has been invisible for the most part in North America and Europe. --Eileen Julien Readings in African Popular Fiction explores the social, political, and economic contexts of popular narratives by bringing together new and classic essays by important scholars in African literature and eight primary texts. Excerpts from popular magazines, cartoons, novellas, and moral and instructional pamphlets present African popular fiction from all areas of the continent. Selections include essays on Hausa creative writing, the influence of Indian film in Nigeria, Onitsha market literature, writing and popular culture in Cameroon, Kenyan romances, Swahili literature, art and cartoons, works by South African writers of the 1950s, and popular crime thrillers in Malawi. Stephanie Newell's introduction engages themes and trends in popular fiction in contemporary Africa. Contributors are J. C. Anorue, Misty Bastian, Felicitas Becker, Richard Bjornson, William Burgess, Michael Chapman, Don Dodson, Dorothy Driver, Roger Field, Bodil Folke Frederiksen, Graham Furniss, Raoul Granqvist, Paul Gready, Ime Ikiddeh, J. Roger Kurtz and Robert M. Kurtz, Alex La Guma, Brian Larkin, Bernth Lindfors, Charles Mangua, Gomolemo Mokae, Ben R. Mtobwa, Njabulo Ndebele, Nici Nelson, Stephanie Newell, Sarah Nuttall, Donatus Nwoga, Alain Ricard, Lindy Stiebel, and Balaraba Ramat Yakubu. |
| which magazine did can themba work for: Starck-Adler: Lewis Nkosi: The Black Psychiatrist , 2023-06-02 This rich volume is dedicated to the astounding South African writer and literary critic Lewis Nkosi (1936ñ2010). In this book, Nkosiís celebrated one-act play ìThe Black Psychiatristî is published together with its unpublished sequel ìFlying Home,î a play on the satirically fictionalized inauguration of Mandela as South African president. Critical appraisals, tributes and recollections by scholars and friends reflect on the beat of his writing and life. An ideal volume for those encountering Lewis Nkosi for the first time as well as for those already devoted to his work. |
| which magazine did can themba work for: The South African Short Story in English, 1920-2010 Marta Fossati, 2024-09-12 Through detailed close readings alongside investigations into the history of print culture, Marta Fossati traces the development of the South African short story in English from the late 1920s to the first decade of the twenty-first century. She examines a selection of short stories by important Black South African writers (Rolfes and Herbert Dhlomo, Peter Abrahams, Can Themba, Alex La Guma, Mtutuzeli Matshoba, Ahmed Essop, and Zoë Wicomb) with an alertness to the dialogue between ethics and aesthetics performed by these texts. This new history of Black short fiction problematises and interrogates the often-polarised readings of Black literature in South Africa that can be torn between notions of literariness, protest, and journalism. Due to material constraints, short fiction in South Africa circulated first and foremost through local print media, which Fossati analyses in detail to show the cross-fertilisation between journalism and the short story. While rooted in the South African context, the short stories considered also hold a translocal dimension, allowing us to explore the ethical and aesthetic practice of intertextuality. These are writings that complicate the aesthetics/ethics binary, generic classifications, and the categories of the literary and the political. Theoretically eclectic in its approach, although largely underpinned by a narratological analysis, The South African Short Story in English, 1920-2010: When Aesthetics Meets Ethics offers a fresh perspective on the South African short story in English, spotlighting several hitherto marginalised figures in South African literary studies. |
| which magazine did can themba work for: The Corner People of Lady Selborne John Seakalala Mojapelo, 2009 Lady Selborne was a comparatively small place, situated in an area on the slopes of the gentle Magaliesberg mountains, to the west of the city centre of Pretoria. By 1942, the multiracial Lady Selborne was home to about 22 000 people, the majority of whom were Northern Sotho, but also including Nguni, Shangaan, coloured, Indian, white and Chinese people. It was to become the largest Group Areas Act dispossession project in Pretoria -- back cover. |
| which magazine did can themba work for: Photography Liz Wells, 2004 This seminal text for photography students identifies key debates in photographic theory, stimulates discussion and evaluation of the critical use of photographic images and ways of seeing. This new edition retains the thematic structure and text features of its predecessors but also expands coverage on photojournalism, digital imaging techniques, race and colonialism. The content is updated with additional international and contemporary examples and images throughout and the inclusion of colour photos. Features of this new edition include: *Key concepts and short biographies of major thinkers *Updated international and contemporary case studies and examples *A full glossary of terms, a comprehensive bibliography *Resource information, including guides to public archives and useful websites |
| which magazine did can themba work for: Literary Transactions in South Africa Michael Chapman, 2025-04-03 A representative overview of some of the most pressing concerns in contemporary literary criticism in South Africa, demonstrating literary form's shaping power in the interpretation of politically contentious content. Rather than pressing literature into the service of a political cause or programme, this study's purpose – its politics of interpretation – is to open literature to the potential of human experience in both the personal and the public life. The society of focus – South Africa – is a society of political contestation. Instead of prioritizing the what of contestation, however, Michael Chapman explores contestation through the how of the literary work. In sharp transactions between an intransitivity of form and a compulsion to communicate, the book elucidates an ethics of aesthetics in J. M. Coetzee and Nadine Gordimer, and the best of modernism and the worst of modernism in Roy Campbell's poetry. It also asks: Can Themba's 'style' of the shebeens in the 1950s be re-visited in a contemporary context of gender-based abuse? Why or how are Ellen Kuzwayo and Mtutuzeli Matshoba, writing in the 'struggle' years of the 1970s, simultaneously less than artists and more than artists? Has the interpretative frame of the 'postcolonial' best served fiction after apartheid? What language of interpretation best releases the voices of contemporary women's poetry: a poetry which in its play on identities and identifications looks both inwards to its locality and outwards to the globe? Alert to both South Africa's colonial past and its assertions of today, Literary Transactions in South Africa pursues the challenge of interpreting a literature of disjuncture between Africa and the West, or the South and the North. |
| which magazine did can themba work for: Bury Me at the Marketplace N. Chabani Manganyi, David Attwell, 2009-11-01 When Chabani Manganyi published the first edition of selected letters twenty-five years ago as a companion volume to Exiles and Homecomings: A Biography of Es’kia Mphahlele, the idea of Mphahlele’s death was remote and poetic. The title, Bury Me at the Marketplace, suggested that immortality of a kind awaited Mphahlele, in the very coming and going of those who remember him and whose lives he touched. It suggested, too, the energy and magnanimity of Mphahlele, the man, whose personality and intellect as a writer and educator would carve an indelible place for him in South Africa’s public sphere. That death has now come and we mourn it. Manganyi’s words at the time have acquired a new significance: in the symbolic marketplace, he noted, ‘the drama of life continues relentlessly and the silence of death is unmasked for all time’. The silence of death is certainly unmasked in this volume, in its record of Mphahlele’s rich and varied life: his private words, his passions and obsessions, his arguments, his loves, hopes, achievements, and yes, even some of his failures. Here the reader will find many facets of the private man translated back into the marketplace of public memory. Despite the personal nature of the letters, the further horizons of this volume are the contours of South Africa’s literary and cultural history, the international affiliations out of which it has been formed, particularly in the diaspora that connects South Africa to the rest of the African continent and to the black presence in Europe and the United States. This selection of Mphahlele’s own letters has been greatly expanded; it has also been augmented by the addition of letters from Mphahlele’s correspondents, among them such luminaries as Langston Hughes and Nadine Gordimer. It seeks to illustrate the networks that shaped Mphahlele’s personal and intellectual life, the circuits of intimacy, intellectual inquiry, of friendship, scholarship and solidarity that he created and nurtured over the years. The letters cover the period from November 1943 to April 1987, forty-four of Mphahlele’s mature years and most of his active professional life. The correspondence is supplemented by introductory essays from the two editors, by two interviews conducted with Mphahlele by Manganyi and by Attwell’s insightful explanatory notes. |
| which magazine did can themba work for: The Companion to African Literatures G. D. Killam, Ruth Rowe, 2000 Refreshing... -- African Sudies Review The entries are knowledgeable, thorough, and clearly written.... Highly recommended... --Choice ...an ambitious reference guide to works on African literature. - African Studies Review This comprehensive compendium will be a handy companion for anyone working on African literatures. The entries are authoritative and up-to-date, providing reliable information on the hundreds of authors and texts that have contributed to a whole continent's literary flowering. --Bernth Lindfors A comprehensive introduction and guide to African-authored works, with over 1,000 cross-referenced entries covering classics in African writing, literary genres and movements, biographical details of authors, and wider themes linking African, Afro-Caribbean and Afro-American literatures. |
| which magazine did can themba work for: Who's who in African Literature: Biographies, Works, Commentaries Janheinz Jahn, Ulla Schild, Almut Nordmann Seiler, 1972 |
| which magazine did can themba work for: Encyclopedia of African Literature Simon Gikandi, 2003-09-02 The most comprehensive reference work on African literature to date, this book covers all the key historical and cultural issues in the field. The Encyclopedia contains over 600 entries covering criticism and theory, African literature's development as a field of scholarship, and studies of established and lesser-known writers and their texts. While the greatest proportion of literary work in Africa has been a product of the twentieth century, the Encyclopedia also covers the literature back to the earliest eras of story-telling and oral transmission, making this a unique and valuable resource for those studying social sciences as well as humanities. This work includes cross-references, suggestions for further reading, and a comprehensive index. |
| which magazine did can themba work for: Black Africa V. Klima, K.F. Ruzicka, P. Zima, 2012-12-06 In October 1972, our Czech-written book Literatury eerne Afriky (Literatures of Black Mrica) was published in Prague, presenting a survey of an extensive field. The publication, which was signed at that time by all three authors, differed from most contemporary introductions to the study of Mrican literatures in a threefold way: a) The authors attempted to cover various literacy and literary efforts in the area roughly delimited by Senegal in the west, Kenya in the east, Lake Chad in the north and the Cape in the south. We were well aware-even at that time-that neither technically nor linguistically would it be possible to cover all literary efforts within that area. We did try, however, to include in our survey both the literacies and literatures written in the Indo-European linguae francae (English, French, Portuguese) and in at least several of the major African languages of the area. We did not attempt an exhaustive description, but wished, rather, to show the mutual relationships which emerge, if the literatures of thii\ area, written either in the major linguae francae or in the African languages, are studied not as isolated phenomena, but as mutually complementary features. b) As two of us were linguists and one was a literary historian, we did not limit our analysis of the developing literacies and literatures to the purely cultural and literary aspects. Our intention waR to deal-whcre and if it was relevant-not only with the process of African literary development, but also with the simultaneous, complementar. |
| which magazine did can themba work for: Changing the Fourth Estate Adrian Hadland, 2005 South African journalism has been fortunate in recent decades to have editors, writers and practitioners of the highest order working within its ranks. Some, such as radio talk show host John Perlman and cartoonist Zapiro, are household names. Others are less well-known, but work quietly and effectively behind the scenes, bringing years of experience and skill to bear on their art. Until the publication of this book, few have taken the time to sit down and spell out the dos and don'ts of their particular speciality, often gained over a lifetime of trial and error. The book, brought to you by the Human Sciences Research Council, is a celebration of excellence. Whether the reader is intent on becoming a professional journalist, is already working as one, or merely wants to know what South Africa's most respected journalists have to say about their work, this book will be of interest. Covering a wide range of topics in the diverse, global media business, the writers of this collection present an accessible and fascinating insight into the art of journalism and what it takes to aspire to excellence. |
| which magazine did can themba work for: Historical Companion to Postcolonial Literatures in English Prem Poddar, 2019-08-07 This is the first reference guide to the political, cultural and economic histories that form the subject-matter of postcolonial literatures written in English.The focus of the Companion is principally on the histories of postcolonial literatures in the Anglophone world - Africa, the Middle East, South Asia, South-east Asia, Australia and New Zealand, the Pacific, the Caribbean and Canada. There are also long entries discussing the literatures and histories of those further areas that have also claimed the title 'postcolonial', notably Britain, East Asia, Ireland, Latin America and the United States. The Companion contains:*220 entries written by 150 acknowledged scholars of postcolonial history and literature;*covers major events, ideas, movements, and figures in postcolonial histories*long regional survey essays on historiography and women's histories. Each entry provides a summary of the historical event or topic and bibliographies of postcolonial literary works and histories. Extensive cross-references and indexes enable readers to locate particular literary texts in their relevant historical contexts, as well as to discover related literary texts and histories in other regions with ease. |
| which magazine did can themba work for: Arts & Culture Philip Harrison, 2005 South Africa is a remarkable land of extraordinary beauty, a rich and colorful tapestry of diverse cultures and endless vistas that simply beg to be explored. |
| which magazine did can themba work for: The Literature Police Peter D. McDonald, 2010-10-14 'Censorship may have to do with literature', Nadine Gordimer once said, 'but literature has nothing whatever to do with censorship.' As the history of many repressive regimes shows, this vital borderline has seldom been so clearly demarcated. Just how murky it can sometimes be is compellingly exemplified in the case of apartheid South Africa. For reasons that were neither obvious nor historically inevitable, the apartheid censors were not only the agents of the white minority government's repressive anxieties about the medium of print. They were also officially-certified guardians of the literary. This book is centrally about the often unpredictable cultural consequences of this paradoxical situation. Peter D. McDonald brings to light a wealth of new evidence - from the once secret archives of the censorship bureaucracy, from the records of resistance publishers and writers' groups both in the country and abroad - and uses extensive oral testimony. He tells the strangely tangled stories of censorship and literature in apartheid South Africa and, in the process, uncovers an extraordinarily complex web of cultural connections linking Europe and Africa, East and West. The Literature Police affords a unique perspective on one of the most anachronistic, exploitative, and racist modern states of the post-war era, and on some of the many forms of cultural resistance it inspired. It also raises urgent questions about how we understand the category of the literary in today's globalized, intercultural world. |
| which magazine did can themba work for: Encyclopedia of Post-Colonial Literatures in English Eugene Benson, L.W. Conolly, 2004-11-30 ... Documents the history and development of [Post-colonial literatures in English, together with English and American literature] and includes original research relating to the literatures of some 50 countries and territories. In more than 1,600 entries written by more than 600 internationally recognized scholars, it explores the effect of the colonial and post-colonial experience on literatures in English worldwide. |
| which magazine did can themba work for: Africa Writes Back James Currey, 2022-10-31 June 17, 2008, is the fiftieth anniversary of the publication of Chinua Achebe’s Things Fall Apart by Heinemann. This publication provided the impetus for the foundation of the African Writers Series in 1962 with Chinua Achebe as the editorial adviser. Africa Writes Back: The African Writers Series and the Launch of African Literature captures the energy of literary publishing in a new and undefined field. Portraits of the leading characters and the many consultants and readers providing reports and advice to new and established writers make Africa Writes Back a stand-out book. James Currey’s voice and insights are an added bonus. CONTENTS Publishing and selling the African Writers Series The African Writers Series Portfolio & George Hallett’s covers Main dates for the African Writers Series INTRODUCTION: The establishment of African Literature Publishing Chinua Achebe 1. WRITERS FROM WEST AFRICA Nigeria: The country where so much started Negritude from Senegal to Cameroun Magic & realism from Ghana, The Gambia & Sierra Leone 2. WRITERS FROM EASTERN AFRICA Towards the oral & the popular in Kenya, Uganda & Tanzania Publishing Ngugi 3. WRITERS FROM THE HORN & NORTH-EASTERN AFRICA Emperors in Ethiopia Publishing Nuruddin Farah Arab authors in Egypt & Sudan 4. WRITERS FROM SOUTH AFRICA Resistance in South Africa Publishing Alex la Guma Publishing Dennis Brutus Publishing Bessie Head Publishing Masizi Kunene 5. WRITERS FROM SOUTHERN AFRICAN Guns & Guerrillas in Mozambique &Angola Zambia Shall be Free Death & detention in Malawi The struggle to become Zimbabwe Publishing Dambudzo Marechera CONCLUSION: Is there still a role for the African Writers Series? |
| which magazine did can themba work for: The Columbia Guide to South African Literature in English Since 1945 Gareth Cornwell, Dirk Klopper, Craig MacKenzie, 2010 From the outset, South Africa's history has been marked by division and conflict along racial and ethnic lines. From 1948 until 1994, this division was formalized in the National Party's policy of apartheid. Because apartheid intruded on every aspect of private and public life, South African literature was preoccupied with the politics of race and social engineering. Since the release from prison of Nelson Mandela in 1990, South Africa has been a new nation-in-the-making, inspired by a nonracial idealism yet beset by poverty and violence. South African writers have responded in various ways to Njabulo Ndebele's call to rediscover the ordinary. The result has been a kaleidoscope of texts in which evolving cultural forms and modes of identity are rearticulated and explored. An invaluable guide for general readers as well as scholars of African literary history, this comprehensive text celebrates the multiple traditions and exciting future of the South African voice. Although the South African Constitution of 1994 recognizes no fewer than eleven official languages, English has remained the country's literary lingua franca. This book offers a narrative overview of South African literary production in English from 1945 to the postapartheid present. An introduction identifies the most interesting and noteworthy writing from the period. Alphabetical entries provide accurate and objective information on genres and writers. An appendix lists essential authors published before 1945. |
| which magazine did can themba work for: Mau-mauing the Media South African Institute of Race Relations, 1991 |
| which magazine did can themba work for: Foundational African Writers Bhekizizwe Peterson, Khwezi Mkhize, Makhosazana Xaba, 2022 The essays in this collection were crafted in celebration of the centenaries, in 2019, of Peter Abrahams, Noni Jabavu, Sibusiso Cyril Lincoln Nyembezi and Es'kia Mphahlele, all of whom were born in 1919. All four centenarians lived rich and diverse lives across several continents. In the years following the Second World War they produced more than half a century of foundational creative writing and literary criticism, and made stellar contributions to institutions and repertoires of African and black arts and letters in South Africa and internationally. The range of the centenarians' imaginations, critical analyses and social interventions spanned disciplinary divides. This volume, in the same spirit, draws on approaches that are equally transdisciplinary. Two aims thread through the contributors' reflections on the complexities of black existence and of intellectual and cultural life in the twentieth century. The first is the exploration of some of the centenarians' key texts and cultural projects that shaped their legacies. In doing so, the volume contributors trace a number of divergent intellectual and aesthetic lineages in their works and organisational activities. The second aim is a consideration of the ways in which these foundational writers' legacies continue to resonate today, confirming their status as crucial contributors to modern African and diasporic black arts and letters. |
| which magazine did can themba work for: Africana Resources and Collections Hans E. Panofsky, 1989 Comprises studies on the bibliographic control of various collections (e.g., films, museum materials, publications in African languages), background information on interlibrary cooperation, and an essay on improved online access to Africa-related materials in undergraduate collection. Annotation cop |
| which magazine did can themba work for: Peter Brook Michael Kustow, 2014-09-02 Peter Brook is one of the world's legendary theater directors. His productions are a byword for imagination, energy, and innovation. From his ground-breaking production of Marat/Sade, to his white box A Midsummer Night's Dream, to his monumental staging of The Mahabharata and beyond, Brook has always been the pioneer of what a director and a company of actors can conjure out of an empty stage. In this first authoritative biography, arising out of an association and friendship with Brook over forty years, Michael Kustow tells the fascinating and revealing story of a man whose life has been a never-ending quest. Born into a Russian émigré family in London, Brook has been fascinated by theater and film since childhood. He studied at Oxford, where he made a film of Laurence Sterne's A Sentimental Journey and was almost sent down during his turbulent undergraduate years. As a brilliant young man influenced by the theatrical visionary Gordon Craig, he turned his hand to Shakespeare, opera, new French drama, and mainstream comedy. Following Craig's philosophy, Brook began to search for a simplicity, harmony, and beauty that would incorporate all aspects of the stage production under the control of one person. He also began the lifelong search for authenticity on the stage, a search that led him around the world from London to New York, to his legendary Théâtre des Bouffes du Nord in Paris, to Broadway and the Brooklyn Academy of Music. It was in Paris, in the 1970s, that he attempted to discover a universal language of theater with an international group of actors. This collaboration resulted in a series of visually spectacular and innovative shows including The Ik, The Conference of the Birds, and The Mahabharata. In his long and influential career, he worked with some of the world's greatest actors and writers including Glenda Jackson, Paul Scofield, John Gielgud, Laurence Olivier, Irene Worth, Jeanne Moreau, Peter Weiss, and Truman Capote. His films, such as Lord of the Flies, Moderato Cantabile, King Lear (with Paul Scofield), The Beggar's Opera, and the film of Marat/Sade moved the camera and the screen to borders they had not reached before. His book The Empty Space continues to be one of the classic works on theater and drama in the Western canon and his memoir, Threads of Time, gave us a glimpse into his personal development. In this biography, based on extensive interviews with Peter Brook and many of the actors, writers, producers, and directors he's worked with throughout his life, Michael Kustow goes to the heart of Brook's theater, his self-searching and his unceasing desire to produce work that redefines theater and life. |
| which magazine did can themba work for: Soweto Inside Out Adam Roberts, 2012-10-02 This is a book about Soweto from inside and out. It is an effort to mark a century since the first forced removals of black Africans from central Johannesburg to the banks of the Klipspruit River. It is also in recognition of the limited books available on a world-famous city. A wide variety of writers have contributed: Sowetan experts with views from inside the township as well as interested outsiders who are peering in. Contributors include writers from publications as varied as Drum, Sowetan, Mail & Guardian, Time magazine, The Economist, The Independent and New York Times. |
| which magazine did can themba work for: My Own Liberator Dikgang Moseneke, 2016-10-01 A powerful memoir of activism, dedication, and a life committed to justice and equality in apartheid-era South Africa. ‘My Own Liberator spans some eight decades and sheds light on a remarkable and distinguished life as well as on of the history of South Africa and leading figures in changing times to paint a compelling double portrait of the author’s personal life and the history of South Africa’s journey from apartheid to democracy.’ — SALA citation ‘The first of a two-part memoir, the former deputy chief justice writes movingly of the many people who influenced him on the road to becoming one of the most respected legal minds in South Africa.’ — Tymon Smith, The Times ‘Justice Dikgang Moseneke’s biography, My Own Liberator, is a welcome instalment in the increasing body of African literature and biographies ... Through this book he has allowed us a sneak preview of his still-incomplete life, and this book is recommended for its wit, depth and lucidity.’ — Thami Ka Plaatjie, Sunday Independent Dispatches ‘... a beautiful memoir that is simultaneously poignant and enthralling *My Own Liberator charts a life from Pretoria’s version of Sophiatown, Lady Selborne, to Atteridgeville, Robben Island as South Africa’s youngest political prisoner, lawyer, silk and finally after becoming acclaimed one of our most revered jurists ever.’ — Kevin Ritchie, Weekend Argus In My Own Liberator, Dikgang Moseneke pays homage to the many people and places that have helped to define and shape him. Tracing his ancestry, the influence on both his maternal and paternal sides is evident in the values they imbued in their children – the importance of family, the value of hard work and education, an uncompromising moral code, compassion for those less fortunate and unflinching refusal to accept an unjust political regime or acknowledge its oppressive laws. As a young activist in the Pan-Africanist Congress, at the tender age of fifteen, Moseneke was arrested, detained and, in 1963, sentenced to ten years on Robben Island for participating in anti-apartheid activities. Physical incarceration, harsh conditions and inhumane treatment could not imprison the political prisoners' minds, however, and for many the Island became a school not only in politics but an opportunity for dedicated study, formal and informal. It set the young Moseneke on a path towards a law degree that would provide the bedrock for a long and fruitful legal career and see him serve his country in the highest court. My Own Liberator charts Moseneke's rise as one of the country's top legal minds, who not only helped to draft the interim constitution, but for fifteen years acted as a guardian of that constitution for all South Africans, helping to make it a living document for the country and its people. Winner of the Creative Non-Fiction Award at the 2017 South African Literary Awards (SALA), shortlisted for the 2017 Sunday Times Alan Paton Award, and shortlisted for the 2018 Humanities and Social Sciences Award for Best Non-Fiction: Monograph, this memoir is a testament to the power of perseverance, principle, and the pursuit of justice. |
| which magazine did can themba work for: Drum , 2003 |
| which magazine did can themba work for: Mind Your Colour V. A. February, 2019-06-04 This book is essentially about stereotypes as found in the literature and culture of South Africa. It deals specifically with those people referred to in the South African racial legislation as ‘coloureds’. The book is also an illustration of the way in which stereotypes function as a means of social control and repression. First published in 1981. Routledge is an imprint of Taylor & Francis, an informa company. |
| which magazine did can themba work for: South Africa's Alternative Press Les Switzer, 1997-02-13 Collection of essays on the South African alternative press from the 1880s to the 1960s. |
| which magazine did can themba work for: Odyssey to Freedom George Bizos, 2011-12-02 In October 1941 a young boy and his father disembarked at Durban harbour from a large liner commissioned into emergency service by the Allies. They were Greek refugees from their German-occupied motherland. They spoke no English. They had little money and no prospects. They were heroes, but no one knew that. Some months earlier, father and son, together with two other Greek men and seven New Zealand soldiers, had set off in an open boat in an attempt to escape the German invaders. For two days and nights, sailing by instinct and the stars, battered by fierce winds, their food stocks running low, their water bottles almost empty, they ploughed across the Mediterranean towards Crete, little knowing that the island was soon to capitulate to the Germans. Fortunately the escapees sailed into an Allied fleet while it was still light and were rescued. Had they encountered the fleet in darkness their fate might have been dire, as, sometimes, in the horrors of war no prisoners were taken – a reality the young boy discovered not many nights later. The boy who stood on the Durban docks, appalled at the sight of Zulu men doing the work of animals by pulling rickshaws, would become one of the leading human-rights lawyers in the country that his father had chosen because the pavements were allegedly paved with gold. The boy was George Bizos. Today George Bizos is a legendary name, renowned throughout the legal profession and beyond. More than that, he is a figure recognised in townships across South Africa. For as an advocate, Bizos is associated with the Treason Trial of the late 1950s; the subsequent Rivonia Trial where his colleague, client and friend Nelson Mandela was sentenced to life imprisonment; the trial of Bram Fischer; that of the Namibian Toivo ja Toivo; a host of major human-rights trials through the 1970s and 1980s right up to the amnesty hearings of the Truth and Reconciliation Commission; and, in 2004, with the treason trial of the Zimbabwean opposition leader, Morgan Tsvangirai, in that country. A consummate lawyer, a self-styled street fighter with a quiet tone of voice and a beguiling smile who, in cross examination, would slice through the evidence of security police and apartheid apologists alike, Bizos haunted the courtrooms of the apartheid regime. For four decades he exposed State lies and hypocrisy, State brutality and murder. In response the State badgered and threatened him, bugged his phone, obstructed his hearings. But the advocate was not to be intimidated. In this compelling and long-awaited autobiography, George Bizos reveals the drama, the heartache and the moments of triumph, the fears and the frustrations of his long career as an advocate. He writes, moreover, about himself and his family, and the domestic moments that made bearable the brutal years. He revels in his return to his beloved Greece, his joy at the Athens Olympic Games and his love of modern Greek poetry. Above all, his is a warm and compassionate account, related by a raconteur of note. It is history told from the inside. |
| which magazine did can themba work for: The Heinemann Book of South African Short Stories Denis Hirson, Martin Trump, 1994 All by writers who spent their formative years in South Africa, this diverse range of short stories spans from the end of World War II when the National Party was on the upsurge, to the early 1990s when the legal framework of apartheid was abolished, the ANC was legalized and Mandela was released. |
| which magazine did can themba work for: Dateline Soweto William Finnegan, 2023-04-28 Dateline Soweto documents the working lives of black South African reporters caught between the mistrust of militant blacks, police harrassment, and white editors who—fearing government disapproval—may not print the stories these reporters risk their lives to get. William Finnegan revisited several of these reporters during the May 1994 election and describes their post-apartheid working experience in a new preface and epilogue. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1995. Dateline Soweto documents the working lives of black South African reporters caught between the mistrust of militant blacks, police harrassment, and white editors who—fearing government disapproval—may not print the stories these reporters risk the |
| which magazine did can themba work for: The Cambridge History of South Africa: Volume 2, 1885–1994 Robert Ross, Anne Kelk Mager, Bill Nasson, 2011-08-15 This book surveys South African history from the discovery of gold in the Witwatersrand in the late nineteenth century to the first democratic elections in 1994. Written by many of the leading historians of the country, it pulls together four decades of scholarship to present a detailed overview of South Africa during the twentieth century. It covers political, economic, social and intellectual developments and their interconnections in a clear and objective manner. This book, the second of two volumes, represents an important reassessment of all the major historical events, developments and records of South Africa and will be an important new tool for students and professors of African history worldwide, as well as the basis for further development and research. |
| which magazine did can themba work for: New Theatre Quarterly 72: Volume 18, Part 4 Clive Barker, Simon Trussler, 2003-11-27 New Theatre Quarterly provides an international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. Articles in volume 72 include: Views Across Borders; Small Audience, Big Picture; Cheerful History: the Political Theatre of John McGrath; 'Blood Red Roses': John McGrath and Lukacsian Realism; The Events of June 1848: the Monte Cristo Riots and the Politics of Protest; Performance, Embodiment, Voice; The Market Theatre of Johannesburg and its Presence in the New South Africa; NTQ Book Reviews. |
| which magazine did can themba work for: In the Fiery Continent Tom Hopkinson, 1963 |
| which magazine did can themba work for: The Cambridge Guide to Literature in English Dominic Head, 2006-01-26 This illustrated and fully updated Third Edition of The Cambridge Guide to Literature in English is the most authoritative and international survey of world literature in English available. The Guide covers everything from Old English to contemporary writing from all over the English-speaking world. There are entries on writers from Britain and Ireland, the USA, Canada, India, Africa, South Africa, New Zealand, the South Pacific and Australia, as well as on many important poems, novels, literary journals and plays. This new edition has been brought completely up to date with more than 280 new author entries, most of them for living authors. The general reader will find it fascinating to browse and to discover many new writers and works, while students will find it an invaluable resource for daily use. This is a unique work of reference for the twenty-first century that no reader or library should be without. |
| which magazine did can themba work for: Emerging Traditions Vicki Briault Manus, 2012-07-10 The monograph explores the linguistic impact of the colonial and postcolonial situations in South Africa on language policy, on literary production and especially on the stylistics of fiction by indigenous South Africans writing in English. A secondary concern is to investigate the present place of English in the multilingual spectrum of South African languages and to see how this worldly English relates to Global English, in the South African context. The introduction presents a socio-linguistic overview of South Africa from pre-historic times until the present, including language planning policies during and after the colonial era and a cursory review of how the difficulties encountered in implementing the Language Plan, provided for by the new South African constitution, impinge on the development of black South African English. Six chapters track the course of English in South Africa since the arrival of the British in 1795, considered from the point of view of the indigenous African population. The study focuses on ways in which indigenous authors 'indigenize' their writing, innovating and subverting stylistic conventions, including those of African orature, in order to bend language and genre towards their own culture and objectives. Each chapter corresponds to a briefly outlined historical period that is largely reflected in linguistic and literary developments. A small number of significant works for each period are discussed, one of which is selected for a case-study at the end of each chapter, where it is subjected to detailed stylistic analysis and appraised for the degree of indigenization or other linguistic or socio-historic influences on style. The methodology adopted is a linguistic approach to stylistics, focusing on indigenization of English, inspired by the work of Chantal Zabus in her book, The African Palimpsest: Indigenization of Language in the West African Europhone Novel (2007, (1991)). The conclusion reappraises the original hypothesis - that the specific characteristics of South African literary production, including styles of writing, can be related to the political, social and economic context - in the light of many fresh insights; and discusses the place occupied by English in the cultural struggle of the formerly colonized peoples of South Africa. |
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