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“There is no Frigate like a Book
To take us Lands away,
Nor any Coursers like a Page
Of prancing Poetry –
This Traverse may the poorest take
Without oppress of Toll –
How frugal is the Chariot
That bears a Human Soul.”
Emily Dickinson
Stevie Smith had a unique literary voice: her idiosyncratic, wonderfully funny and poignant poems established her as one of the most individual of English modern poets. She claimed her own life was ‘precious dull’, but Frances Spalding’s acclaimed biography, revised with a new introduction for this centenary edition, reveals a far from conventional woman.
In a world where artistic expression and creative endeavours hold the power to shape reality, The Creative Arts: On Practice, Making and Meaning delves into the intricate and transformative nature of artistic practice.
In Transcontinental Delay, Simon Van Schalkwyk tracks experiences of imminent arrival and departure, periods of waiting and suspension between destinations, points where the demands of place dissolve into the more anticipatory potentialities of space.
In this debut collection of 48 poems, Sizakele Nkosi reflects on her childhood and daily life and relationships in Soweto, the heartbeat of Black Jozi.
The carefully modulated surface of Stuart Payne’s poems belies the intriguing, startling and thought-provoking depths of thought and perception. Such deliberate tensioning between the obvious and the hidden allows him to craft finely judged poems that reward rereading. Whether evoking the touch of the sun or the sound of an old tape recording, his universe is both vivid and uncertain as past, present and future are considered and reconsidered, and the distance between minds is sensed and explored.
Wayne Barker’s artistic career spans almost two decades, marked by a bitter-sweet mix of politics, poetry, and a passion for subversion. Tracking that career from apartheid South Africa’s most violent years to a new democratic dispensation, the artist’s monograph explores the contradictory impulses of “African identity”.
“Zabalaza Republic reiterates the need for my people to find value in our blackness. For my generation, the battle against white supremacy culture has taken on psychological implications echoing sentiments of what Du Bois referred to as double consciousness. My poetry comes from the wreck left behind after ethnic and racial collisions. For me, this book represents an optimistic step forward towards healing and a return of black self-love.’’
As Sihle Ntuli describes the essence of his collection, the poems encompass numerous aspects of black alienation resulting from collisions with the white world, which despite the ‘zabalaza’ seemingly having been won in 1994, still remains the ruling environment.
Charl-Pierre Naudé demonstrates that poetry problematises generally accepted truths, estranging it so that it may be experienced anew. In Naudé’s poetry the strangeness is important. Strange spaces are set foot upon to rediscover the known, by looking in from the outside as it were.
Arja Salafranca’s new poetry collection offers portraits of people on trains in England, as well as recounting the experience of being a stranger in Spain, where she was born.
Contains interviews with and photographs of the 25 people who knew or worked with Roth during his time spent in Chicago, Providence, New York, Philadelphia and Los Angeles. Many of the works Roth created during that period are illustrated here in full colour.
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Letotoba is a collection of 33 new poems that focuses on different themes namely; spiritual, relationships (love), politics, youth (June 16), inspiration and motivation.
‘Why bother to rob a bank, when you can own a bank?’ asked Bertold Brecht. The question is reiterated in the very Brechtian Love, Crime and Johannesburg, the story of Jimmy ‘Long Legs’ Mangane and the trouble he gets into in the new South Africa. Jimmy, a people’s poet involved in the struggle, is accused of robbing a bank. He passionately asserts his innocence, claiming to work for the ‘secret secret service’.
Penny Siopis’ Grief brings together a series of small glue and ink paintings on paper – occasionally with the addition of oil and collage elements – produced over a period of two years following the experience of devastating personal loss. The ‘Notes’ are bought together for the first time, accompanied by a poetic text by the artist that draws on writings by the likes of Mahmoud Darwish, Roland Barthes and Joan Didion on grief, concluding with Emily Dickinson:
‘After great pain, a formal feeling comes –’
Season South Africa is a major program of contemporary visual and performing arts that runs from September 2004 through January 2005. Launched by the Museum for African Art and The Cathedral of St. John the Divine during the year that South Africa is commemorating its first decade of democracy, Season South Africa showcases some of that country’s most gifted and acclaimed contemporary visual and performing artists chosen by an international team of curators.
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