Debby is a trained singer, dancer and actress. She studied Ballet, Tap, Modern and Spanish dancing. She has done stand-up comedy in pubs and clubs around London. Ivor Jacobson has been playing drums for nearly 50 years. He has been in the band Ivory for many years playing the "Oldies" and Latin American genres. He has been playing at the Ritz Revolving Restaurant for the last 5 years as well as for Weddings and Barmitzvahs.
Ted Faulkner has played in numerous bands such as the Shannigans, the Drifters and Ivory. Thomas Krane is the surviving member of the Krane siamese twins that achieved brief fame in November As some of you may recall from news stories at the time, his sister Nadia failed to survive a risky experimental pre-birth surgical separation. Though he has managed to live a fairly normal life since at least in a physical sense , Thomas naturally tends to make sad music.
He describes his art as a combination of skills including; magic, suggestion, psychology and devilish good looks. Bryan reads thoughts, predicts seemingly impossible events and ultimately makes the impossible possible. Whether he is focusing on the name of someone you merely thought of, or impossibly predicting what you will do next - his award-winning abilities are without compare. Renowned touring performers, Natasha Meister, the award winning and Fender endorsed Canadian sensation as well South African respected jazz and world-music fingerstyle guitarist, Philip Malan, come together with a collection of friends to bring you a show not to be missed!
Natasha Meister: "She's fanatastic" - Tommy Emmanuel "A breath of fresh air in the music industry" - MK Philip Malan: "one guitar plays back an orchestra" - The Month "Philip's music is filled with the storytelling characteristics so often found in folk music but instead of lyrics and song, he takes us on an instrumental journey using suggestion, expression and musical themes all performed using only the six strings of his guitar - City Soiree". Cape Town performance artist and singer Umlilo celebrates his 27th birthday with a tribute to the life and times of the members of the 27th club featuring performances from his debut EP 'Shades of Kwaai', reworked cover songs, new material and surprise musical guests from some of Cape Town's renowned live acts.
Audiences can dress up as their favourite 27th club member and be ready for the after-party at the bar downstairs. What the press had to say on Body Language: " Deep South is a collaboration featuring the combined talents of some of S. A's finest musicians. Extended by popular demand! In the competitive world of property development, two men go to extreme lengths to secure a lucrative real estate deal and to dig themselves out of a financial hole. As they wait for darkness to fall, the paranoia sets in and they find their ideals challenged, their morality shaken and their blood-lust slowly increasing.
Shane and Yuri, two ambitious property developers, are on the verge of sealing a very important property deal, but it grounds to a halt when an important investor threatens to pull out. Convincing themselves that their survival is at stake, Shane and Yuri make a fateful decision to abandon their humanity and embrace the evil in their hearts.
The script, by Fleur du Cap winning writer Louis Viljoen, is fast-paced, profane and unsettling and is complimented by the direction of acclaimed theatremaker, Greg Karvellas Champ, Frank-n-Stein, The Abusers. Bauer's set was a study in focused emotional dissection, her voice as clear and pure as mountain rainwater. The CD will be available for purchase on the night of the performance. It is also full of soulfulness and sorrow, but her voice is packed with such delicacy that even woe sings like a plucked string. It is this quality that secured her debut album, Finding a New Way, a South African Music Awards nomination as well as glowing reviews from the jazz fraternity.
This is Riaan. And sort of gay. Riaan likes peppermint, bunsen burners and rugby. He dislikes Enya, vaginas and Woolworths. Amy Jephta is a year old Cape Town based playwright. Jason Potgieter is a writer, director and performer for the stage. Kim Kerfoot is a freelance director and performer. He has presented original work as part of the Iqonga platform at the Out The Box Festival in , and , creating and performing in Left Inside, and creating and directing Lynchpin and Guillotine.
The Production transferred to the Fugard Theatre in early , where it had a successful extended run. Statements was a part of the Assembly on the Edinburgh Fringe After a sold-out show last time she performed at Alexander Bar, Lexi Frame returns to this fabulous venue. Her sound has an acoustic pop base, but is far from innocent. Her ready smile and excellent crowd interaction makes you want to be her friend immediately. The crowd was very excited to see her on stage and during her whole set she gamely laughed and bantered with the audience.
Once she started singing I realized that this girl is much more than just a pretty face. Her voice is incredibly strong and has a beautiful warm quality to it. Her songs are upbeat in melody and sweet in lyrics. Her girly, folk-pop inspired songs make you want to dance and the lyrics make you smile, even when they are bittersweet. Lexi is an incredibly talented musician with a great flair for songwriting.
Her set was also short but long enough for me to know that I will definitely be looking out to hear her play again very soon. Take your seat and let Oskar Brown transport you into his world of stand-up storytelling. Unbroken, undamaged, unconsumed and unsexed I came away with my mind slightly blown. This show will be magical with life size owls and readings and other great performers such as Nuka and Thomas Krane. Joy will have the new album "Next" - all of them with a original, signed art work in them, some more odd than others but all with equal love in them.
Make sure to join us for this sure to be unforgettable evening. Joy Smith along with her trusted left hand man Dolf Baker will make sure to bring you songs of white horses dipped in yellow gold like paint and foxes underneath your bed. Joy will paint the pictures with her voice while Dolf builds a frame with his banjo. Together they have worked hard to get it right to make you the listener feel childlike again, bringing back imagination with sounds. But the best way to find out more about all three of these performers is to come to the event and see them in action.
This indie folk duo share songs of love and life. Their new show, The Somewhere Wind, is a sublime journey into the deepest parts of two musical souls. Have your heart captured and taken on a magic carpet ride with these two sincere singer songwriters. Four characters come together and are torn apart in a succession of connections and confrontations. Closer delves into the relationships of four people living in London, with chance encounters sparking desires and deceits as Dan, Alice, Larry and Anna collide over the course of four years.
Truth and lies both bring the characters closer and tear them apart. All tickets on all Tuesdays are R40 at the door. Disregard the R80 and select "Pay Later" to reap the benefits. Patrick Marber explores the paradoxes and contradictions of contemporary romance with brutal frankness; his script is a benchmark in contemporary theatre, speaking to the craving for absolute honesty and raw emotion but at the same time critical of this impulse. Closer is the third play written by English playwright Patrick Marber. This triple bill brings a gang of South African singer-songwriters together.
Spoken word stalwarts The Buckfever Underground playing as trio on the night bring their date nationwide tour to a close at the Alexander Bar. Comedy-folkpunk duo Die Skynmaagde think Flight of the Conchords The band in full flight a 5-piece has been around since and has about 9 albums to their name. The latest is called 'Verkeerdevlei'. They're relatively new to the scene, but had a hit in with 'Die Kommunis Sokkie' with its video flighted heavily on MK.
Hanru has two albums to his name, 'Tot Stilte' and 'Roepwoorde' Be sure to see this. Since then she has worked independently and as a proud member of acclaimed theatre troupe The Mechanicals, whose work has garnered her numerous Fleur Du Cap award nominations. Greg has worked as a director, producer, actor and production manager in theatre, film and television for over ten years.
Directed by Greg Karvellas. No under 16 due to strong language, ribald humour and onstage violence. Go on. Be cool. Be the person who gets to ask their friends "Do you want to see something outrageous tonight? You know you want to. I have spent some time with a few stand-up comics directing their one-man shows. Since then he has featured in numerous international and local feature films, series and documentaries including, Death Race, Dominion, Mankind, Kidnap and Randsom, The Runaway, Amerca: the story of us and Gettysburg but to date his most memorable role is when he played a boisterous and charismatic drunk pirate called Logan in the Michael Bay series Black sails featuring in season 1 episodes , as well as season 2 episodes He is also one of South Africa's fastest rising comedians, he has been doing comedy for 5 years and has won the Nandos Comedy Showdown in and was the winner of Phat Joe's comedy show in where he won the title "Cape Town's next comedian".
He has performed in numerous theatres around Joburg as well Cape Town including the Baxter theatre and Artscape. He wrote, directed and performed it at on Broadway, to rave reviews and a packed house. Thola Antamu is a professional dancer, singer and actress specialising in poetry and movement as a mode of creating exhibitionist theatre. In her powerful new solo production, "Exhibit S, Ode to Saartjie Baartman by a Black South African Woman", Antamu uses a culmination of her extensive training and techniques, South African history, everyday news, femininity and blackness to evoke pertinent conversations and empower women.
Stone Jets : Out of genuine interest and love for music, Stone Jets was born. Music has the ability of making you feel like a flying jet even when the world weighs you down like a stone… From acoustic to big band, their music jumps borders. With all said and done, it remains all about the music. Went to Rondebosch boys high. Studied business science at UCT in but currently taking a gap year to pursue his music career. Work at stardust restaurant in Woodstock and loving life doing music. Brian Bohlin moved here from the states in Same year he picked up a guitar and has been playing amazing blues riffs ever since.
Jimmy Hendrix is a hero of his. Teamed up with Richard at the beginning of to start writing originals and get a band going. Been a struggle though because he is in matric this year. Having studied classical music and opera, she has always kept an alter-ego root in electro and has written and performed in a broad range of genres including electro, rock, and soul. She loves an array of musical flavours and enjoys her own wide range of genres and experiments through songwriting.
Mary Anne Constable : Mary Anne Constable has been writing poetry and singing in the shower most of her life. A late bloomer by music world standards, she got her first guitar at the age of 21 and began to turn her poetry into songs and discovered that she had a voice too! She creates her own unique fusion of soulful folk melodies combined with honest and incisive lyrics - an intense reflection of the journey through life and experience of The human condition.
She released her first single "Twenty Nine" in October which is available for free download on noistetrade. She has plans to record a full album in Find her on facebook at facebook. We create the illusion of asking my audience to join me in my study and share my life. I play some 7 different characters in the show, including the iconic Lady Bracknell. I so enjoy the sharp and witty insights that Wilde gives into the, at times, hilariously idiotic snobbery of the English upper classes of his time.
As well as the humor, there is also the sadness associated with his later decline and imprisonment. Noel Coward gives us a delightful encore. Like a breath of fresh air at Kelvin. Peter is mesmerizing in demanding, complex roles. I have spoken to several members since the evening and they have all commented on a wonderful performance and want us to hold more evenings like it!
Every Wednesday the cosy chairs and tables of the bar get turned into your throne from which you will enter into a battle of the minds. But don't start googling general knowledge trivia answers just yet Among the 'what is the capital of Minimum of 1 person per team note: your name will automatically be entered as Han Solo up to 6 players in a team.
The game starts at pm sharp and finishes at pm. Please be aware that portions of the quiz will be filmed for use on Channel PS We take kindly to tweets and competitive slurs between teams. A play about silence and noise. About waiting. About old habits, blood bonds, miracles and spare parts. A play about the strange, powerful moments that carve into memory like water through sand.
Susan is adopted. Katelyn is her younger sister — the miracle baby. Susan is a lawyer, wife and mother. Katelyn just rolled her car down a mountain. In the hospital, pain meds and memory twinkle under fluorescent lights, circling ever closer to the truth. The Game was first performed in Cape Town in June of before travelling to the Grahamstown Festival, where it received the worst review in the history of humankind.
As with all ground-breaking theatre real opinion was divided. That first review went on to form an integral part of the saga of The Game as it has continued to challenge audiences with its unique non-theatrical style. Sue Bevan's captivating one-woman show was nominated for the prestigious Outstanding Performance Award at Prague Fringe, and got rapturous reviews from critics and audiences alike at Edinburgh Fringe Extremely funny but not without darkness and pain.
Kinda like Die Antwoord made a solo theatre show with elements of clowning after a trip to the shopping centre. But not. You'll have to see for yourself. Klara van Wyk is an actress, clown, writer and student, trained by Philippe Gaulier. She is currently pursuing her PhD at the University of Stellenbosch, specializing in clowning. She was recently seen in the productions Babbelagtig and Tweespalt.
Francesco Nassimbeni is an interdisciplinary performing arts practitioner. He recently completed a Masters in Theatre-Making at UCT, studying the overlap between graphic design and performance. A play about love, death and blow jobs. While grappling with a sense of alienation and the spirit of his tragically deceased mother, Nate, a gay artist falls in love with James, his delightfully strange and unusual model. As their relationship grows, we discover why we are on earth, what Walt Whitman really meant, if James Franco is gay and what happened to J D Salinger.
The Fire and the Wood Image 1 of 1. Legoloop Image 1 of 1. This is an act that simply must be seen, LIVE Franscesca's otherworldly sensuality and syrupy voice combined with Riccardo's high energy percussion and mixing, make them a potent duo of performance, poetry and passion. The show includes a sandwich and a juice for lunch. Jeri Silverman Image 1 of 1. Jamie Jupiter Image 1 of 1. Read More Bench Image 1 of 1. Stuart Lightbody - Unreal, the preview Image 1 of 1.
Check out their video! The Dog's Bollocks Image 1 of 1. Prism Tats and Julian Redpath live Image 1 of 1. Jam Sandwich presents Image 1 of 1. The improv maestros that brought you Soapathon, Little Space Between, Documentary and Cape Town's beloved TheatreSports present another brand new and experimental format of improv. In short, the entire show will comprise of scenes for the actors in teams of three, two and one.
That's it. No script. No rehearsing. Fully Committed Image 1 of 1. Play Things Image 1 of 1. To be involved with Play Things please visit our website. KWAS Image 1 of 1. More info on website. The Spinster Image 1 of 1. And what a lovely bar : " - Sonja Read what Meganshead said here. Salute the Troops! Image 1 of 1. The Unexpected Man Image 1 of 9. Zanne is currently a new fixture in TheatreSports.
She also has a tiny blond dog and is studying dietetics for fun. Samuel Miller Image 1 of 1. Cape Comedy Image 1 of 1. A Girl called Owl Image 1 of 5. Olivia arrived in the town with her Dad; she was the new girl, the quiet girl, the weird girl. Then she met Kay, the girl with the scar.
Told in two parts, Owl begins with a new friendship in the heat of the Overberg summer between two ten-year-old girls, and finds them again six years later. A story about growing up where nothing grows. Gary Thomas Live! Image 1 of 3. Currently planning a new European tour and working on a new record, this one man band is something truly remarkable to witness live.
Don't miss out! For a while, no other music could even come close to this mastery He takes sound and bends it in ways that I would never have thought possible" - City Press "Innovative Thomas' intricate, crystalline guitar work is balanced with his rough vocals to create and album that billows with every listen" - Obrigado "Phenomenal He has taken the various elements of contrasting musical genres and combined them into something bafflingly brilliant Bryan Miles: Live Image 1 of 1.
Mark Fransman Sings Image 1 of 1. The Great Gupta Ball Image 1 of 1. An T oniem Image 1 of 5. Languages: English and Afrikaans. Test Show Image 1 of 1. Risk [Pre-Show] Image 1 of 1. Nitida Tasting Image 1 of 1. Yes, Really, Angel Preview Image 1 of 1. The Belgian Image 1 of 3. The Belgian is a hilarious trip into the mind of a most misunderstood species: Belgians!
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From his childhood amongst the cows in Belgium to understanding braai etiquette in present day South Africa. Sometimes you might wonder where reality has been a little bit stretched — but who cares? This is not a show about France. Upstairs with Lexi Frame Image 1 of 1. Lady Sings the Blues Image 1 of 1. Back by popular demand! The S.
Burlesque Express Image 1 of 1. Boylesque Image 1 of 7. London Road Image 1 of 8. It's an All Day Pass, meaning you can come and go as you please. Check the website for more details. Cascade Image 1 of 1. Where Are You Coming From? Twenty-One Light Years Image 1 of 1. Scrape Image 1 of 4. Expectant Image 1 of 7. Tina Schouw: How to do this Image 1 of 1. Stuart Lightbody - Illusive Image 1 of 1. Civil Parting Image 1 of 9. Image 1 of 4.
For more information please visit www. Benguela Image 1 of 1. A Taste of Bette Midler Image 1 of 4. Negative Skew Image 1 of 1. Kung Fu Chit Chat Image 1 of 1. The Frontiersmen Image 1 of 3. Lisa Bauer Quartet: Image 1 of 1. Time Off for Bad Behaviour Image 1 of Join us for a first look at this exciting new show. Warning: Performer smokes in the show. Bring-a-Thing: Oskar Brown's stand-up storytelling Image 1 of 1. These two musicians have worked together for over a decade on different stages in different countries.
In this show they will explore their cultures and their interests, centering around the Tango Music which they have been performing together for over a decade. They will perform Tango music from both their cultures, Bulgaria and South Africa, and there will be space on the stage for Tango Dancers to take the stage.
So if you are a Tango Dancer, bring your dancing shoes along, and if you are simply interested in watching, you can have a drink and relax and enjoy the sights. The idea for this show came during their tour to Germany where they performed in the prestigious Leipzig Gewandhaus, and performed in Tango Clubs in Berlin, Leipzig and Tubingen. Both are classically trained musicians who came to the passionate world of Tango through the seductive strains of the music of the great Tangeuros: Piazzolla, Gardel, Di Sarli The Epicene Butcher Image 1 of 3.
Cape Town can't get enough of this global cult hit. The Epicene Butcher and Other Stories for Consenting Adults returns to Alexander Upstairs for a week to satiate the demands of those who missed its last run. Come and see the deployment of a 12th Century Japanese Buddhist story-telling tradition known as kamishibai to tell 7 startling pop stories.
The show is a mash-up of manga, sex, gothic horror and mainstream popular culture using hand-drawn illustrations and luscious narration.
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Joy Smith Next Image 1 of 1. Digby and the lullaby, The Somewhere Wind Image 1 of 2. Closer at the Intimate Theatre Image 1 of Souls of Ancient Fish: Incantations Image 1 of 1. A collaboration between the poet Ruben Mowszowski, traditional music artist and cultural historian Dizu Plaatjies and soprano saxophonist and electronic musician Maxim Starcke, it forms a lush current, a confluence of leaping vocabularies that celebrate the fluid and rich possibilities of words and sounds. Widely known for his exuberant performances and charisma, Dizu is the founder and former leader of the marimba, percussion and dance group Amampondo.
At the request of Mandela, they represented African music at the Atlanta Olympic Games and continued to perform internationally. In Souls of Ancient Fish, Dizu, who is the son of a traditional healer, presents a deeply spiritual side of himself, performing music as invocation, In between tours, Dizu is a teacher and cultural historian at the University of Cape Town College of Music. For more information on Dizu click here. The ensemble grew out of a collaboration with Dizu Plaatjies and took present form when Maxim Starcke joined as the third member. For more information on Ruben click here.
Drive With Me Image 1 of 4. Read the 5 star review from Cape Argus July 8th here. The Story Marion Taylor, a forty-nine year old academic, attends the National Arts Festival every year to give her talk on creative writing. Her lecture, The Road Trip, focusing on journeys and their symbols in fiction, is particularly popular, and the reason she keeps getting invited back onto the Thinkfest.
Only this time something strange has happened to her on her own road trip to Grahamstown… The Destination A personal, symbolic, engrossing story, intended to give an audience a thrilling theatrical experience. Combining the mundane, familiar and everyday, with a uniquely South African landscape and the deeply strange, Drive With Me is original, local and innovative; taking the audience on a journey in which they slowly come to the realisation that things are not what they seem… they are in a very strange place, with a very strange somebody… Drive With Me returns to Upstairs at The Alexander Bar after 3 sold out performances in November with a two week run from Monday 30 June through to 12 July, pretty much the exact time of the Grahamstown festival.
This will bring the festival to Cape Town without the hideous inconvenience of actually going to Grahamstown. Drive With Me is well written. Drive with Me is a refreshing, meticulously written piece of theatre; insightful, informative and highly entertaining. A round of applause for Megan Furniss and for anyone who strives to keep theatre intelligent, innovative and creative. Tape Image 1 of 2. Vince, Jon and Amy haven't seen each other since high school, half a decade later they unexpectedly reunite in a dingy motel room.
A seemingly pleasant rendezvous leads to confessions, a betrayal , a surprise and the unearthing of blurry and explicit events of a love-triangle and night best left forgotten. Stephen Belber's text delves into sexual politics with raw frankness, laying open the past to multiple interpretations as the characters struggle with guilt, desire, jealousy and anger. Theatre of Death Image 1 of 5. With Theatre of Death the creators of the cult smash Epicene Butcher continue their reconnaissance into new theatrical territory. Using multi-media, Beethoven, sock puppets and other unexpected items, this show promises to be the most unusual thing you will watch about Death this December.
Third World Television's production of The Epicene Butcher has travelled extensively throughout South Africa and abroad garnering numerous awards. TWT aims to create work that is refreshingly odd; quick, witty and highly visual theatre for the YouTube generation. Glen Biderman-Pam is the frightfully exciting addition to this creative team.
The naughty girls' mis guide to dating, bonking and other disasters! The Titanic of the dating world is on the prowl in a dirty comedy about love. One actress, thirteen sidesplitting characters. One actress, 13 hilarious characters. Directed by John Trengove and starring Sonia Esgueira, the show earned her a prestigious Mbokodo Award nomination for excellence in Arts and Culture in the field of Comedy. Sonia should be available on prescription! A should be proud of this gem. From Sea Point trophy wives, sleazy sugar daddy's , speed dating, Indian love gurus, sozzled Portuguese mothers , trance parties and sangoma's, this comedy is jam packed with hilarious recognisable South Africans and razor sharp wit.
A tongue in cheek variety show, paying tribute to 's, right through to 50's American style burlesque comedy and striptease performances. But there's a twist It's a fun journey through a variety of genres and styles of performance from comedy, live song, ballet, drag, and of course, striptease. It is a collaboration between the notorious and Johannesburg "Boylesque" troupe and Cape Town based burlesque superstar Golden Delishas, who has recently returned from performing at the Paris Burlesque Festival.
His underground queer films, which have screened locally and abroad, feature Broadway star Amra Faye Wright "Chicago" , disco diva Tamara Dey Flash Republic , multi-award winning actor Robert Whitehead "Isidingo" and many more. Golden Delishas studied and performed other dance forms for over 10 years before she took to burlesque and discovered a love for big feather wings and most importantly, the art of strip-tease. Her unique presence and power endlessly fascinates and is appreciated by spectators locally and abroad.
A truly delectable vision of undraped loveliness, she is known for her feminine fearlessness, her raw allure of passion and nostalgia and her unashamed honesty in seduction. The Wrecking Ball: Goodbye Image 1 of 1. We've seen ratchett behaviour become the norm amongst the world's rich and famous, twerking went mainstream, we've seen natural and man-made disasters, we've suffered great losses and gains, one of those gains is great friendships, new partnerships and the ability to laugh at life's idiosyncrasies. Dress up as your favourite or least favourite person and come toast to the end of with a smashing wrecking ball hosted by Umlilo.
For the first time the Upstairs is going to turn itself around, packing away the seating to make space for a dance floor and raised performance stage. These 2 musicians have worked together for over a decade on different stages in different countries. They will perform Tango music from both their cultures, Bulgaria and South Africa, as well as some traditional tangos from the well-known Tango repertoire. A white car-guard, a mother hooked on therapy, an American who came to South Africa and decided to stay, a paramedic bored with life, a struggling drag artist and lover of all things French.
In a series of five charming, moving and intensely human monologues shared by two actors, it takes on the unexpected, the unexplored perspectives on the age-old tale of relationship break ups. From the perspective of Delores, the drag queen from Delft, to Erwin, the only white car guard in the city, the characters are drawn simultaneously closer to the love story and a car accident that connect them. The Things You Left Behind reveals the subtle, profound bonds that life forges between complete strangers, the hundreds of coincidences and connections that happen each day without us realising it.
The Great S. The extravagant bill boasts the biggest names in the Cape Town Burlesque scene, featuring acts that are indulgent and intoxicating. Nothing but the breast of burlesque for you, so grab your tickets and climb on board! Experience the extravagance that is The Great S.
Burlesque express with "the hostess with the mostest", Prof D. Boobs, who returns with her reputation for bawdy banter, and beautiful burlesque from a star-studded cast. Burlesque Express will be celebrating it's 1st year at the very venue it embarked on for it's first journey. Join us for an evening for visual delights and let us derail your thoughts with all the bells and whistles; glitter and garters; and scintillating smiles of The Great S. Burlesque Express! Cape Town's kwaai diva unveils his latest music video for his third single, 'Out of My face' directed by the talented Tlhonepo Thobejane and styled by Art Mataruse.
The performance artist and singer will feature performances from The Ragdollz and joined by DJ Angel-ho showcasing music from his acclaimed debut EP, 'Shades of Kwaai'. The show will also feature other Umlilo videos as well as performances of new songs. The event will be a snazzy sit down ball where audiences are encouraged to dress and let their hair down for an evening of fun music and great performances. An Audience with Miss Hobhouse Image 1 of 5.
Director Christopher Weare's production of Tony Jackman's one-hander with Lynita Crofford in her Fleur du Cap Award-nominated role as Emily Hobhouse, whose efforts to make the British establishment grasp the injustices of their concentration camps during the Anglo-Boer War ring familiar alarm bells today. Crofford, in a performance that has won her many standing ovations, embodies both the stern passion of the Cornish crusader and the grim determination of Tant Alie, a Boer prisoner, to survive the war and the camps.
Weare's placement of the story in the detritus of a ransacked Boer farmhouse brings an added poignancy to what Die Burger described as "a jewel" of a script. Work includes a well-received Chekhov season and his acclaimed direction of Vigil, by Morris Panych, for the Fugard Theatre. Lynita Crofford has worked in theatre, film, television and radio for more than 25 years. She received a Fleur du Cap theatre award nomination last year for her role in An Audience with Miss Hobhouse, and earlier appeared in the international movies Safe House and Chronicles.
Tony Jackman writes with irreverent humour in newspapers while also sub-editing and revising the work of his peers for newspapers throughout the country. He has published restaurant guides to the Cape's top restaurants, and while living in the UK edited and founded etc, an award-winning magazine whose template has since been used throughout the UK. He has written three plays, of which 'Hobhouse' is the first to go into production.
It was published in the newspaper L'Aurore on 13 January Habermas, in his chapter on Heine the intellectual , says that the letter that Zola wrote was followed by a petition in the same newspaper signed by more than signatures, many of them writers and scholars. Zola was convicted of libel and was forced to flee the country. In President Francois Mitterand commissioned a statue of Dreyfus by sculptor Louis Mitelberg to be installed at the Ecole Militaire, but the minister of defense refused to display it. The army didn't formally acknowledge Dreyfus' innocence until The central fact for me is, I think, that the intellectual is an individual endowed with a faculty for representing, embodying, articulating a message, a view, an attitude, philosophy or opinion to, as well as for, a public.
The intellectual does so on the basis of universal principles: that all human beings are entitled to expect decent standards of behaviour concerning freedom and justice from worldly powers or nations, and that deliberate or inadvertent violations of these standards need to be testified and fought against courageously He continues: I say or write these things because after much reflection they are what I believe; and I also want to persuade others of this view.
There is therefore this quite complicated mix between the private and the public worlds, my own history, values, writings and positions as they derive from my experiences, on the one hand, and, on the other hand, how these enter into the social world where people debate and make decisions about war and freedom and justice.
There is no such thing as a private intellectual, since the moment you set down words and then publish them you have entered the public world. Nor is there only a public intellectual, someone who exists just as a figurehead or spokesperson or symbol of a cause, movement, or position. There is always the personal inflection and the private sensibility, and those give meaning to what is being said or written It is this clarity in Said, that it is not so much a matter of intelligence and perception that enables the intellectual, but also capacity, resources, resourcefulness and endowment with symbolic capital that is critical for a performance to reach a public, that is useful for my investigation of Krog, as these are the kinds of factors I will be investigating in this study.
In similar vein this study asserts that the heightened debate in South Africa about the necessity for and presence of various types of intellectuals in the public domain is motivated by moral concerns and is about moving discourse. My intention is to discover what discourse propels the purported need for intellectuals to be visible and vocal in the public sphere of this country. Just as the idea of the public sphere operates normatively in modern democracies and through the news media, so does the idea of the public intellectual.
Interestingly, in all these debates there are claims for who the intellectual should be and what the intellectual should be doing. The exclusion and alienation that the colonial and apartheid experiences generated live on in an ongoing suspicion of Western-informed knowledge practices, which for centuries positioned the indigenous people as uncivilised natives with no useful knowledge practices of their own and then as objects of a civilising project into western modes of knowledge acquisition.
This suspicion is sharpened by the findings of the Truth and Reconciliation Commission hearings, which opened up the past for scrutiny of the atrocities committed by the apartheid government and allowed the dispossessed to speak for the first time in their thousands; and is heightened by global debates about the spread of human rights, the inclusion of the marginalised peoples of the world into proper nationhood and the struggles in many democratic states for full citizenship and recognition. Redress and restitution are high on the agenda in South Africa, not just officially, but also unofficially.
My premise is that public intellectuals need to be understood as structural or institutional effects, not merely in terms of individual capacities online journal no page numbers. This sense of boom and crisis is indicative, says Carter of a social shift. At the same time, given this basic conceit, it is almost impossible for self-elected public intellectuals to recognise how these same changes have created significant new public roles and new media for their interventions or to acknowledge their own dependence upon the commercial media and upon their own institutional locations and disciplinary training.
It is exactly this focus on new public roles and media interventions which are important dimensions of any investigation of the trope of the public intellectual. It is also the intention of my study to side-step the prevailing discourse on public intellectuals and the terms already set by the debate which are usually used to judge a public intellectual performance. Interestingly it is in studies of celebratisation that one finds just such an attunement to the political economy of the extraordinary individual operating in the public domain.
Public intellectual as proxy democratic individual I turn to Rojek , a professor of sociology and culture, Turner and Marshall , both cultural studies theorists, and Giles , a psychologist, to get a better understanding of the creation, function and power invested in such an individual. In their work the surfacing of an individual above the masses is seen as a necessary consequence of processes that are embedded paradoxically in the rhetoric of the equality and similarity of all human beings.
It also, paradoxically, confirms the unique individuality of each human being. Celebrities, because they emerge from a legitimation process that is connected to the people, and because their emergence is not necessarily purely associated with merit or lineage, represent active elements of the social sphere.
They are the proxies of change. Celebrities, then, often define the construction of change and transformation in contemporary culture, the very instability of social categories and hierarchies in contemporary culture. They are the active agents that in the public spectacle stand in for the people Marshall So each one of us is an acknowledged individual, but only some of us are permitted to act out, or speak out of, our individuality in public. The individual permitted to speak in the public domain is not speaking for a group or on behalf of any of the marginalised voices in the usual socio-political sense.
This person is speaking only out of their own individuality and idiosyncratic experience. But the fact that they do and can, validates the belief in the ideal of individuality and its necessary expression in western-democratic cultures, and the concomitant ideals of freedom of expression and the formation of opinion as the quintessential checks on political power. Such public figures represent those not speaking in the sense that they stand for the promise that such speech is owed to everyone in a democracy. They are proxies — not so much for others as for a precious idea which must not be brought into doubt in modern democratic public spheres.
The [public individual], then, is an embodiment of a discursive battleground on the norms of individuality and personality within a culture. It is also extremely important that this representative individual use the material of their true and authentic self in public so as to verify the underlying belief in the importance of this self as a proxy for every individual. David Giles says: In modern Western culture, it might seem that the individual self is such a taken-for-granted reality that its origins require little discussion.
The market of sentiment and affect If at this point we are reminded again by Hannah Arendt that the movement of the personal, affectual and particular into public domains is an inevitable outcome of the trajectory of social change set in motion by the events of the 18th century, then we are going to see these characteristics emerge in the public individuals of our public spheres. Part of the anxiety about the power of the crowd or mass in the shift to democratic governance, is the worry that crowds can act in ways that are emotional and irrational.
This intensity has worked to produce a system of celebrity that is positioned as a means of comprehending and congealing the mass into recognisable and generally non-threatening forms Historically, as political configurations shifted to legitimation by the masses of people, so did the capitalist notion of markets take hold, also as a break on unfettered political power. The centrepiece of contemporary political culture is the citizen.
The inter-penetration of these two kinds of subjects, citizen and consumer, and the interpenetration of market logics and political logics is rife in our public domains and media. He says: Capitalist organisation requires individuals to be both desiring objects and objects of desire. For economic growth depends on the consumption of commodities, and cultural integration depends on the renewal of the bonds of social attraction The two parallel and contradictory impetuses we have seen above the levelling equality of all humans and the uniqueness of every individual are at work here again.
Capitalist markets in commodities depend on the creation of a desire which drives consumption, this desire is greatly enhanced by the rise of style and the fashioning of the individual self, and the modelling of that self on public representations of individuality. How can this insight be applied to the public intellectual or public figure operating not so much in the frenzy of media attention on their person and actions but on their thoughts and ideas?
The point to be made here is that the performance of the public figure in the public sphere is also one that is admired for its style, flair and excellence of articulation. On the spectrum from rational exposition of serious ideas through to frivolous and media-generated images of celebrity, there is no dividing line in the public domain between who gets consumed as a public actor and what is being consumed. Warner puts it like this: In everyday life… we have access to the realm of political systems in the same way we have access to the circulation of commodities… the contexts of commodities and politics share the same media and, at least in part, the same metalanguage for constructing our notion of what a public or a people is Following Foucault, he says: The celebrity… allows for the configuration, positioning and proliferation of certain discourses about the individual and individuality in contemporary culture.
The celebrity offers a discursive focus for the discussion of realms that are considered outside the bounds of public debate in the most public fashion.
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The celebrity system is a way in which the sphere of the irrational, emotional, personal and affective is contained and negotiated in contemporary culture Proxies of agency The important point to be drawn from the work of these four theorists is that the theoretical focus on celebratisation and its necessary connection to the operations of the public sphere allows us to see that a representative individual, public intellectual, or celebrity is given agency because they are important proxies of the idea of the people.
Says Marshall: The celebrity is both a proxy for someone else and an actor in the public sphere. To describe this dual role, the celebrity can be defined as an agent. On another level, the celebrity expresses a more radical conception of human agency as it has developed in the Marxian tradition… the public personality … conveys the meaning that his or her actions both are significant and can produce change. They are the proxies of change… they are the active agents that in the public spectacle stand in for the people He was heard, or purported to make himself heard, as the spokesman of the universal.
Truth is a thing of this world: it is produced only by virtue of multiple forms of constraint. And it induces regular effects of power. Thus Foucault questions at the very level of being authorised to speak, the truth and the implicatedness in bourgeois systems of power, the person who brings theory or thought to bear on the struggles of the masses in order to give those political strategies the grounding in universal truths. When questioned about what an intellectual could be doing to be useful in [militant] political struggles, Foucault answered: The intellectual no longer has to play the role of an advisor.
The project, tactics and goals to be adopted are a matter for those who do the fighting. But as for saying. He says: Foucault actually offers very little support to those who want to preserve or defend this leading intellectual role. Helen Small puts it like this: …There is nevertheless an evident desire… for a language of political and cultural life that can be in some measure holistic or at least coherently generalising. In surveying the debates on intellectuals in the South African public sphere, it is evident that the multiplicity of performers and performances being called into action is indicative of a crisis of legitimacy and authority; nevertheless, there is also a desire being expressed for the need for exemplary human beings, who will speak in ways that are universalising and visionary and not merely particular; and there is a concomitant anxiety about whether speaking has power and matters at all in spaces filled with government deafness and the proliferation of forms of mass media.
Anyway — it may be useful to remember that for thirty years of my life i produced poetry that was negatively described as politically naive, too engaged and therefore temporal etc. This is the central question this thesis sets out to investigate by positioning the public intellectual not as an extraordinary agent with gifts and skills but as a structural or institutional effect in the public spheres of democracies, and as an agent located within a field of possibilities.
A more adequate conception of the public intellectual From the above I take the following points into my investigation of Krog: 1. This person is a function of the need in democratic states to deal with millions of citizens who have aspirations for voice and individuality, and so operates as a proxy in many different ways, as these theorists show for these millions.
That once this person has entered the public domain they do so with their distinctive individuality, style and personal performance. This person is also a mechanism in society for housing affect. The public person enables vicarious participation in the public spheres and enables others to participate in mass subjectivity by engaging as a public. This change is inescapably economic and market-related and all the fields of action involved, media, political, literary or aesthetic, are all deeply embedded in the workings of the market.
That as Said points out, and Foucault emphasises, the public persona is irrevocably located in regimes of truth and power. That as Carter shows, the modern-day writer intellectual, even while their works and publicity are embedded in the highly-developed economics of literary market functions, may still put into public the aesthetised and ethically-challenging, which give publics ways of engaging with crucial social issues.
Pierre Bourdieu In multiple texts over a substantial period of time, Bourdieu has explicated his field theory for a range of social situations , , , , , , , , The three particular fields which have a major bearing on the study of Krog are the literary field, the political field and the media field.
Other fields to also take account of are the field of power more generally, the intellectual field and the academic field. I will explain the theoretical components and ideas of field theory generally and then look in particular at the three fields Krog comes to operate in and which are key to her accumulation of the authority to become more than just a well-known writer. Field …human consciousness and thought are socially constituted… possibilities of action are socially and historically situated and defined.
Randal Johnson in Bourdieu a: The field provides the conditions which make knowledge possible, generates practice and representations of practice, and distributes power, struggles and strategies, interests, profits, resources and status b: Habitus is a set of dispositions which incline agents to act and react in certain ways.
Dispositions are inculcated, structured, durable in the body , generative and transposable across fields Thompson in Bourdieu a: And, reflexively, the habitus is also a product of these dispositions. Practices and perceptions are produced by the relationship between habitus and field. Hexis is a term used to describe how such behaviours become effectively embodied.
And Johnson points out that habitus does not preclude the possibility of strategic calculation on the part of agents in Bourdieu a: 5. In his explication of field theory, Bourdieu has investigated to greater and lesser extents the workings of the literary field, the field of art, the political field and the scientific field. It is important to note that fields nest within fields: so both the literary field and the media field sit within the field of cultural production, and the political field and the field of cultural production are located with the field of power.
Each field is a space of authority over what counts as valuable work and products and who count as recognised operators within the field. Rodney Benson says social organisation is structured around a basic opposition between economic and cultural power and this opposition plays out within fields. The autonomous pole is where the immanent logics of the field hold sway and the resistance to external political influences and economic logic is strong and guides those operators and practices. So within the field of cultural production, avant garde poetry would be located at the autonomous end of the field.
The heteronomous pole is open to the influence of politics, the mass market and other external logics. Mass media production would be a good example of a set of practices at this pole of the field of cultural production. All actors and institutions within fields compete for authority and autonomy because this gives them the power to assert competence, the capacity to speak, to act legitimately and with recognition, to set limits and to impose the definition of what constitutes their field of expertise and knowledge Bourdieu b.
Fields are also spaces where shifts of power and battles over authority take place constantly. This misrecognition extends to denying or making invisible the relations operating in the field and suppressing the recognition that fields also operate to create silences, impossibilities, exclusions and limitations. Within the cultural field the illusio also upholds the fetishism of art works and productions and the belief in genius and the creator. Distinction is one of the ways change happens within fields through the search for and promotion of individualism and difference.
Another way change happens is through new entrants into the field who arrive, establish themselves and challenge the status quo. In this way a field produces both control and censorship and innovation and rupture. To enter a field, negotiate a field and achieve recognition is a complex process for an agent. This effort marks both the individual and the field. Capital takes three forms: economic, cultural and symbolic. The literary field Who authorises the author? The field. Literature, art and their respective producers do not exist independently of a complex institutional framework which authorises, enables, empowers and legitimises them.
He goes on: The important fact, for the interpretation of works, is that this autonomous social universe functions somewhat like a prism which refracts every external determination: demographic, economic or political events are always retranslated according to the specific logic of the field… The literary is a field of high autonomy from economic and political logics and its strategies and trajectories are highly individual and highly differentiated Johnson in Bourdieu a: The major struggle taking place in this field is over who can legitimately be called a writer, and over what is legitimate literary practice a: It suppresses questions such as who authorises the author and who creates the creator a: And it is important to note that the population of authors and producers is subject to limits, particularly when it comes to canonisation, classification and hierarchisation over which there are fierce struggles It is also important to note that critique and commentary on literary works are a crucial method by which the field continues to generate definitions over what is legitimate literary production.
In relation to the field of power, this field although highly autonomous within is in a dominated section of the wider social space because of its non-conformity to political and economic logics. The actors in this field, says Bourdieu: …occupy a dominated position in the dominant class, they are owners of a dominated form of power at the interior of the sphere of power. This is a very useful tool for understanding the often-occupied position of political dissidence which is a hallmark of the literary field and applicable in my study of Krog.
In addition, it helps explain why literary field agents have an ambivalent — and often complicit — relationship to the mass-based public and to the market. The political field …the political field is… the site par excellence in which agents seeking to form and transform their visions of the world and thereby the world itself… John Thompson in Bourdieu a: The agents in the political field are constantly engaged in contestation over their particular constructions of reality and visions of what society should be, and over the support of those on whom their power depends.
While all the characteristics of fields operate here too as in other fields, agents must negotiate the inner logics of this field, serve apprenticeships and master its knowledges and methods , the interesting distinction about the political field is that its actors must relate to and receive their legitimation from those not within the field. And because politics has become increasingly professionalised, these agents have become removed from those whom they represent and who give them their mandates.
Politicians are therefore vulnerable to suspicion, scandal and disenchantment. Bourdieu says: …political parties must on the one hand develop and impose a representation of the social world capable of obtaining the support of the greatest possible number of citizens, and on the other hand win positions whether of power or not capable of ensuring that they can wield power over those who grant that power to them a: The field of cultural production includes in its range large-scale mass production through to avant garde art production.
In addition, journalism as a practice has the particular hallmark of mediating knowledge and power across fields and through society, so much so that politics and other practices employ the news media as a primary vehicle to distribute important information to general publics. Says media theorist Nick Couldry: The journalistic field has always occupied a pivotal role in the field of cultural production because of its specific role in circulating to a wider audience the knowledges of other, more specialised fields a: Because fields are closely intertwined and because journalism in particular is such a crucial mediator among all fields, as the journalistic field has become more commercialised and thus more homologous with the economic field, it increases the power of the heteronomous pole within each of the fields, producing a convergence among all the fields and pulling them closer to the commercial pole in the larger field of power 6.
He says: …the extent to which a particular medium or media enterprise is able to exercise such consecrating power is an indicator of its relative weight within the [journalism] field These are: 1. This has led some media theorists to coin a new term for this power. Couldry says: …some concentrations of symbolic power are so great that they dominate the whole social landscape; as a result, they seem so natural that they are misrecognised, and their underlying arbitrariness becomes difficult to see.
A very useful insight arising from this theorising is that: By altering what counts as symbolic capital in particular fields, media also affect the exchange rate between the capital competed for in different fields… so media-based symbolic capital developed in one field can under certain conditions be directly exchanged for symbolic capital in another field a: In media theory the very useful concepts of news values, framing, agenda-setting and priming or cueing, are helpful in explicating how media attention comes to be focused on a particular individual or issue, and stories made that then convey to a general public a sense of the importance and noteworthiness of that person or issue.
So in picking from the overwhelming amount of material that reality offers up daily, journalists employ what are often quite unconscious criteria for deciding what gets made into a report. Framing: Then, having made those choices, next in the story-making process, comes framing — which is the mechanism used to embed meaning into a story. Agenda-setting is the way media signal to their readers and listeners the value and priority of certain people and issues. Dearing and Rogers say: The agenda-setting effect is not the result of receiving one or a few messages but is due to the aggregate impact of a very large number of messages, each of which has a different content but all of which deal with the same general issue In agenda-setting — the purpose of which is to influence the public as to what in society deserves attention, and thereby to affect policy or bring about action — repetition is extremely important as a technique.
Agenda-setters are those people and institutions with the power to get their issues, framed their way, on to the media agenda. Dearing and Rogers point out that elite people, elite media institutions and elite organisations ordinarily have this power in a society. In that case the media theory ideas of news values, framing and agenda-setting, capture and explain this attention quite adequately. Using field theory In the next four chapters I am going to use field theory primarily to detect and analyse the constituting factors, the interventions of agents, the events, the writings, the media coverage and their effects in the life of Antjie Krog.
I can also that the important moments of consecration and transition in her life have also been facilitated with journalistic attention. It is in literature, he suggests, that the belief that there are secret truths within the soul that must be extracted and brought into the light, is powerfully taken up and explored.
Linking this exploration of the deepest reaches of the self to his interest in technologies of self-construction, Foucault shows how writing and reading have, over the centuries, been privileged as particular methods of confession in this search for the true self He says: Writing as a personal exercise done by and for oneself is an art of disparate truth — or, more exactly, a purposeful way of combining the traditional authority of the already-said with the singularity of the truth that is affirmed therein and the particularity of the circumstances that determine its use In the case of transitional South Africa and the incorporation of those Othered by centuries of colonialism and decades of apartheid into citizenhood and therefore national visibility, I would argue that the manifestation of oneself in the presence of those Others has a particular urgency and pertinency, and that we can see this in the writings of Krog.
Such boundaries may, to be sure, be strictly observed in criticism, just as we may distinguish between literary and behavioural styles, but in doing so we pay a high price, for we begin to lose a sense of the complex interactions of meaning in a given culture. Echoing Arendt , Greenblatt points to the use of self- experimentation as a reaction to the conforming power of these social structures 1. What is useful for my purposes is that Greenblatt recognises that in the consumption of reading materials, readers themselves cross the boundaries from literature into real life and back again without making the distinctions that theorists and critics do about the construction of literary characters and plots, and their distinction from the social world.
This concurs with the Warner understanding that readers use texts to construct not only individual subjectivities but to join publics because they know that inherent to the text is the possibility that others are consuming the same material and therefore to construct mass subjectivities. The caution to add to this assertion is that the effect of consumption of texts — literary and media — is notoriously difficult to assess.
Conclusion My methodological approach for this thesis, therefore, has been to work from the theoretical assumption that a public figure, considered to have valuable intellectual contributions to make, is an agent embedded in a context, a history, and a field of possibilities. In the case of Krog, three fields and their constraints and possibilities must be taken into account. And in the case of the media field, its particular capacity to affect other fields becomes significant and critical in the situation of Krog, the poet, writer and journalist and newsmaker.
Krog, at the time of publication, was a highly acclaimed writer and public figure. Within this second book about change, metamorphosis, identity, belonging and journeys, Krog also tells a fascinating, autobiographical story in the third person about her own beginnings as a poet and public figure. Reaching back into apartheid South Africa, she recounts the story of the small-town, Afrikaans girl who wrote a poem, shocked a town and came to the attention of the ANC in exile. This story is woven through the first part of A Change of Tongue and is distinguished by chapter headings in italics.
Making a living on a farm, running a municipality, processing sewage, managing schools, perceptions of security, and shifts in personal relationships, are the topics she covers. She also weaves into this her discussions and involvements with her own family and their voices and opinions, and her ongoing preoccupation with writing and its usefulness in the South African situation of political and social change. In the major narrative, she has returned to the very rondavel on the farm her own mother Dot Serfontein1 used while trying to escape her children to write.
Dare not lose… I have lost more on a computer than everything the Old and New South Africa, plus the Receiver of Revenue, plus old age, plus illness was able to plunder from me… I am without memory, my life has been taken from me… 91, That same night she suffers the stroke. It is into this textual situation of cataclysm and loss of words that she injects the climax of the story of the precocious year-old poet she once was. By this point in the book we have already encountered the whimsical, idiosyncratic but clever and richly-imaginative, teenage girl who aspires to be a writer and to feel and experience life powerfully and deeply.
She is in the throes of a first love, is using words to evoke more meaningful experiences of life than life itself — The words have not lost their power. The young girl is experimenting with the sensual making a god out of mud at the river bank to worship, letting the ants crawl over her naked body , and battling her mother — over the length of a hem but more importantly as a writer.
That her mother is so good. When she tears up her own attempt, she realises that she is fiercely jealous The details which Krog tells in this story are: Her mother receives a telephone call from an editor, Mr Pienaar, who tells her that the adverse reaction in the town to the publication of the poem in the Kroonstad High School year book is going to be reported on in this paper; the reactions have come from a Frank Boswell, two ministers and a Mrs Spies. That afternoon two reporters from The Sunday Times arrive at their house and speak to her mother. Telegrams and letters arrive at the school for her.
The editor Schalk Pienaar sends her mother a cartoon by Bob Connolly from an English newspaper on the matter. Her mother takes a call from a publisher who asks if she has written enough poems for a volume and that DJ Opperman wants to see the poems. Her father has been summoned by the local branch of the Broederbond to explain. Her mother is asked by her own publishers 2 The obviously made-up name is puzzling. I can find no record of a Sunday Times report to corroborate this in the archive now held by Avusa.
And it with this announcement the story ends in A Change of Tongue. From newspaper archival fragments I have reconstructed the events which took place in the life of Antjie Krog the emerging writer. This archival story starts with a report in a now defunct newspaper called Die Beeld, edited by Schalk Pienaar, on Sunday 16 August on page 5. Surprisingly for a Sunday newspaper whose life blood is sensation and for whom the backwardness of small towns is always a staple of such journalism, the story opens: Een van ons voorste digters reken haar werk is verbasend goed.
She produces art, her headmaster says, and many people cannot adequately appreciate her work. But Kroonstad is buzzing over the year-old Antjie Krog, matric pupil at the high school. Heinemann, Agualusa, Jose Eduardo. The book of chameleons. Clark, Mary Higgins. Where are you now? Clayton, Victoria. Ahern, Cecelia. Thanks for the memories. Clinger, Rob. Just a boy. Southern Tier Editions, Fidel Castro. White Star, c History Geskiedenis Algar, Clive.
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