Short Story Writers From South Africa

"Be the same as others in heart; just be a person.”"

"It is when you cry, in the blackest hour of despair, that you stumble on a source of goodness.”"

"When someone says 'my people' with a specific stress on the blackness of those people, they are after kingdoms and permanently child-like slaves. 'The people' are never going to rise above the status of 'the people'. They are going to be told what is good for them by the 'mother' and the 'father'."

"'Life is such a gentle, treasured thing. I learn about it every minute. I think about it so deeply.'"

"When people stumble upon magic they study it very closely, because all living people are, at heart, amateur scientists and inventors. Why must racialists make an exemption of the black man? Why must she come here and help the black man with a special approach: ha, ha, ha, you're never going to come up to our level of civilisation?"

"The victim is really the most flexible, the most free person on earth. He doesn't have to think up endless laws and endless falsehoods. His jailer does that. His jailer creates the chains and the oppression. He is merely presented with it. He is presented with a thousand and one hells to live through, and he usually lives through them all."

"Who is the greater man - the man who cries, broken by anguish, or his scoffing, mocking, jeering oppressor?"

"'God isn't a magical formula for me,' ... 'God isn't a switched-on, mysterious, unknown current. I can turn to and, by doing so, feel secure in my own nobility."

"Love is so powerful, it's like unseen flowers under your feet as you walk."

"The year ended in a roar of pain."

"You don't realize the point at which you become evil."

"The loud, pounding rhythm of his drama drummed in her ears day and night."

"I did a lot of reading on my own because I loved that particular world. You open up a book and you learn about something that's much more exciting than your everyday grind, a world of magic beyond your own. And I feel that the beginnings of writing really start whereby you know that when you open a book there's a magical world there."

"I think that my whole life has been shaped by my South African experience and I would never really fall into the category of a writer who produces light entertainment for people. My whole force and direction comes from having something to say. What we are mainly very bothered about has been the dehumanizing of black people. And if we can resolve these situations-and I work both within the present and the future-if we can resolve our difficulties it is because we want a future which is defined for our children. So then you can't sort of say that you have ended any specific thing or that you have changed the world. You have merely offered your view of a grander world, of a world that's much grander than the one we've had already."

"when there is a tragedy, detail and a picture of the country emerges because people discuss it so much."

"You could really say that my writing experience began in Botswana. Everything about the society was magical to me and the reason I began writing is that I wanted to communicate that fascination I felt for the ways of life of the people of this country. It is almost impossible for a writer to evoke a similar feeling of magic and wonder about South Africa. It's too despairing."

"In my novel, A Question of Power, I was extremely bothered to define evil. I was looking for answers all along to questions of exploitation. And I was looking for balances; that is, if we have to live with good and evil we ought to present them as they really are."

"I was born on the sixty of July, 1937, in the Pietermaritzburg Mental Hospital, in South Africa. The reason for my peculiar birthplaces was that my mother was white, and she had acquired me from a black man. She was judged insane, and committed to the mental hospital while pregnant. Her name was Bessie Emery and I consider it the only honor South African officials ever did me—naming me after this unknown, lovely, and unpredictable woman.""

"I have always been just me, with no frame of reference to anything beyond myself.""

"Whatever my manifold disorders are, I hope to get them sorted out pretty soon, because I've just got to tell a story.""

"In a cold and loveless country like South Africa his warmth of heart and genuine friendliness is like a great roaring fire on the white icy wastes of the Antarctic."

"TELL THEM HOW NATURAL, SENSIBLE, NORMAL IS HUMAN KINDNESS. TELL THEM, THOSE WHO JUDGE MY COUNTRY, AFRICA, BY GAIN AND GREED, THAT THE GODS WALK ABOUT HER BAREFOOT WITH NO ERMINE AND GOLD-STUDDED CLOAKS"

"I feel in my heart that our Pharaoh has already been born. It may be that I shall not live to see Pharaoh's day but I want all those who now live in anguish to be comforted. For one day, due to the length of his roots and the depth of his wisdom, all nations shall dwell under his shadow."

"You have a beautiful soul that was nurtured on a dung heap."

"I was thinking a while ago, Johnny, that half the trouble in the world is caused by the difficulty we have in communicating with each other. It's practically impossible to say what you really mean and to be sure that the other person is understanding you. Word communication is dependent on reason and logic but there are many things in life that are not reasonable or logical. A jazz musician can say something to me in his music but it would be quite beyond me to translate into words what he is communicating through music. What he has to say touches the most vital part of my life but I can only acknowledge his message silently."

"Do you think life will care about you if you do not show that you care about it?"

"They pursued their love with a wild abandon, unprotected against the treachery of the insecure foundation on which it was based and too young to bridge the gap that would suddenly and unexpectedly fling them miles apart."

"People don't fall in love these days. The movies have made that kind of thing stale. They have robbed us of our capacity to feel through feeding us with cheap sensation. Ask any man and he will tell you that he can't kiss his wife because she wants him to kiss her the way Richard Widmark kisses."

"The whole principle of living and learning is dependent on what is going on in the mind. The mind is like a huge, living tapestry. Everything we see, hear, learn and experience gets being imprinted on it. As we grow we begin to see that we can correlate those impressions into a definite pattern and so we call that our life."

"Life's one hell of a joke. It dresses us up with insatiable yearnings and high-flying ambitions and then flings the fact of our insignificance in our faces. Half of us fall for the joke and start the mad rush after the big prizes. Some, like you and me can't fall for the joke. We've been hit too hard at too early an age."

"Above all the necessities of life, human beings need love and it is often the one thing most denied to them."

"You are young and might prefer to believe that love is moonlight and rosy sunsets. It is not. It is brutal, violent, ugly, possessive and dictatorial. It makes no allowances for the freedom and individuality of the loved one. Lovers become one closely knit unit in thought and feeling. Should you eventually find that this love is beyond your capacity or that you cannot rise to its demands, you may leave but please make sure that you go to some place where I will never be able to find you."

"Once a man involves himself with women there's always some kind of retribution. They're the most vengeful creatures on this earth."

"There's only one way to make yourself shock-proof. Do not be impressed by evil and do not be impressed by good."

"The task of the writer is to serve humanity and not party politicians and their temporary fixations. But it's a hard path to follow. I'm having headaches over it because I'm too intensely aware of the pressures and issues and yet at the same time wish to retain my right to think for myself."

"She was hardly conscious of her agonised cry as his hard kisses ravaged her mouth. For her it was like a dissolution of body and bones; with only a heart left; a pulsing heart awash in an ocean of rushing tornadic darkness; helpless at its own forward rushing..."

"Life is not in bits and pieces. It is a magnificent, rhythmic, pulsating symphony."

"Life is a treacherous quicksand with no guarantee of safety anywhere. We can only try to grab what happiness we can before we are swept off into oblivion."

"Not now, not ever, shall I be complete; and though the road to find you has been desolate with loneliness, still more desolate is the road that leads away from you. It is as though pain piles on pain in an endless, unbroken stream, until it is the only reality. What do they do, those who love?"

"The only reason why I always admit pain is that it seems the only constructive emotion."

"A basically timid and cowardly person dare not presume to speak for others. He can only speak for himself. [A Personal View of the Survival of the Unfittest,"

"If the whiteness they pursue is cool and haughty and blank, history is uncool, reaches out gawkily for affinities, asserts itself boldly, threatens to mark, to break through and stain the primed white canvas that is their life. For, having primed it, they do not know where to start, how to make a mark. They are alone in the world, a small new island of whiteness. Or so they think; they do not know, or perhaps they do not want to know, that the neighbourhood is full of people like them. Thus they are steeped in its silence."

"I imagined that when I retired from teaching, I would live mainly in South Africa, but in the meantime the promise of liberation has been hollowed out and I’m not attracted to the pathologies of historical colonialism that persist. Still, I do spend a couple of months every year in the Cape and return to the north with great reluctance."

"But, you can’t ever think of yourself as belonging in Europe. In terms then of an interior life, I remained South African, through teaching and writing about South Africa – both fiction and literary criticism. I returned for a few years and taught at UWC but then I couldn’t manage the family separation, and returned to Scotland."

"There are periods of giving up on the project, then inexplicably I return to wrestle with my material until finally the first draft shapes itself through the process of writing. Then follows many more drafts, less torturous than the first, in which I straighten out events and try to refine the prose, but doubts about the value of what I’m doing persist ––I am after all not read by many; in fact, my readership is more or less limited to students of Postcolonial Writing."

"I’m drawn to a subject, do the necessary research, and then the problem of how to represent that subject arises. A struggle of trying to write something that may or may not lead towards a solution, and really it’s a matter of faith, of believing that something will come out of the daily routine."

"Nicholas Greene, a character from Virginia Woolf’s novel Orlando (one of my favourite novels) is a more controversial choice, and really I don’t remember how he entered the story. But I was drawn to the fact that he is a time-traveller and to his fictionality as opposed to the other real historical figures. Thus he enabled me to address yet another level of the real within my fictional account. Given that the novel is about the writing of Pringle’s story, Greene also offered another version of the writer."

"The character Mary Prince was an obvious choice because her slave narrative was the first by a woman. It was published in London by Pringle in spite of opposition and litigation by British people who benefitted from slavery. He was also reviled by fellow Scottish settlers at the Cape, who persisted with the myth that slavery in South Africa was an altogether more benign affair."

"Hinza Marossi, Pringle’s adopted son, was of interest from the outset. Not only is his story recorded in a poem, but I wanted to explore the question of interracial adoption under colonial conditions as well as what that story looks like from Hinza’s point of view."

"After several false starts, self-reflexivity offered a solution –– I decided to exploit my inability to write, to fictionalise the writer herself, and to make the actual writing of Pringle’s history the framework of the novel."