Novelists From South Africa

"The writer in relation to the nature of perceivable reality and what is beyond — imperceivable reality — is the basis for all these studies, no matter what resulting concepts are labelled, and no matter in what categorized microfiles writers are stowed away for the annals of literary historiography. Reality is constructed out of many elements and entities, seen and unseen, expressed, and left unexpressed for breathing-space in the mind."

"The forces of being remain. They are what the writer, as distinct from the contemporary popular mythmaker, still engage today, as myth in its ancient form attempted to do."

"Perhaps it is the positive knowledge that humans now possess the means to destroy their whole planet, the fear that they have in this way themselves become the gods, dreadfully charged with their own continued existence, that has made comic-book and movie myth escapist."

"There are many proven explanations for natural phenomena now; and there are new questions of being arising out of some of the answers. For this reason, the genre of myth has never been entirely abandoned, although we are inclined to think of it as archaic. If it dwindled to the children's bedtime tale in some societies, in parts of the world protected by forests or deserts from international megaculture it has continued, alive, to offer art as a system of mediation between the individual and being. And it has made a whirling comeback out of Space, an Icarus in the avatar of Batman and his kind, who never fall into the ocean of failure to deal with the gravity forces of life."

"Myth was the mystery plus the fantasy — gods, anthropomorphized animals and birds, chimera, phantasmagorical creatures — that posits out of the imagination some sort of explanation for the mystery. Humans and their fellow creatures were the materiality of the story, but as Nikos Kazantzakis once wrote, 'Art is the representation not of the body but of the forces which created the body.'"

"Since humans became self-regarding they have sought, as well, explanations for the common phenomena of procreation, death, the cycle of seasons, the earth, sea, wind and stars, sun and moon, plenty and disaster. With myth, the writer's ancestors, the oral story-tellers, began to feel out and formulate these mysteries, using the elements of daily life — observable reality — and the faculty of the imagination — the power of projection into the hidden — to make stories."

"Humans, the only self-regarding animals, blessed or cursed with this torturing higher faculty, have always wanted to know why."

"Like the prisoners incarcerated with the jaguar in Borges' story, 'The God's Script', who was trying to read, in a ray of light which fell only once a day, the meaning of being from the marking on the creature's pelt, we spend our lives attempting to interpret through the word the readings we take in the societies, the world of which we are part. It is in this sense, this inextricable, ineffable participation, that writing is always and at once an exploration of self and of the world; of individual and collective being."

"In the beginning was the Word. The Word was with God, signified God's Word, the word that was Creation. But over the centuries of human culture the word has taken on other meanings, secular as well as religious. To have the word has come to be synonymous with ultimate authority, with prestige, with awesome, sometimes dangerous persuation, to have Prime Time, a TV talk show, to have the gift of the gab as well as that of speaking in tongues. The word flies through space, it is bounced from satellites, now nearer than it has ever been to the heaven from which it was believed to have come."

"What we had to do to find the world was to enter our own world fully, first. We had to enter through the tragedy of our own particular place. If the Nobel awards have a special meaning, it is that they carry this concept further. In their global eclecticism they recognize that no single society, no country or continent can presume to create a truly human culture for the world. To be among laureates, past and present, is at least to belong to some sort of one world."

"When I began to write as a very young person in a rigidly racist and inhibited colonial society, I felt, as many others did, that I existed marginally on the edge of the world of ideas, of imagination and beauty. These, taking shape in poetry and fiction, drama, painting and sculpture, were exclusive to that distant realm known as 'overseas'."

"We must live fully in order to secrete the substance of our work, but we have to work alone."

"I certainly find being the recipient at this celebratory dinner more pleasurable and rewarding than chicken-pox, having now in my life experienced both. But the small girl was not entirely wrong. Writing is indeed, some kind of affliction in its demands as the most solitary and introspective of occupations."

"When the six-year-old daughter of a friend of mine overheard her father telling someone that I had been awarded the Nobel Prize, she asked whether I had ever received it before. He replied that the Prize was something you could get only once. Whereupon the small girl thought a moment: 'Oh' she said, 'so it's like chicken-pox.'"

"That night our mother went to the shop and she didn't come back. Ever. What happened? I don't know. (beginning of "The Ultimate Safari")"

"Breathe. Breath. A baby, a chicken hatching-the first imperative is to breathe. Breathless. Breathe! Out of this concentration, in which he forgets even the rhythm of his feet, is a bellows pumped by the command, the admonition, the slap on the bottom that shocks the baby into inhalation-comes his second wind. Unless you go out like this, morning and evening, you never know what no one can remember, that first discovery of independent life: I can breathe. (beginning of "Keeping Fit")"

"Underground: this time, as at other times, he's aware of how unsuitably abstract a term that is. To hide away, you have to be out in the open of life; too soon and easily run to ground, holed up somewhere. Best safety lies in crowds. ("Safe Houses")"

"It was my mother who had talked under interrogation. I know why she did. It was to be sure neither her husband nor I would be held responsible."

"What had Aila done to assuage his anguish at Baby's attempt to end her life before it had begun? Nothing. Silence. Silence upon the other silence. Comfort and understanding he had had to find elsewhere."

"She reminds me of pig. Our ancestors didn't eat pig."

"propos[ed] a future South Africa, not only on terms of equality of races but of sexes, too”"

"despite the fact that the narrative demonstrates that the voice of the ‘other’ can be heard and imagined, Gordimer’s attitude toward her own whiteness […] is resentful and hostile”"

"“[T]he isotopy of fragmentation constitutes a unifying web structurally present at the level of story, text, and narration”"

"Change the world but keep bits of it the way I like it for myself — who wouldn’t make the world over if it were to be as easy as that."

"I opened the telegram and said, "He's dead —" and as I looked up into Graham Mill's gaze I saw that he knew who, before I could say."

"Odd in-between period which sometimes inserts itself into historical time when not only the later historians but the actors and witnesses, the living themselves, become aware of an interval in time which is altogether determined by things that are no longer and by things that are not yet. In history, these intervals have shown more than once that they may contain the moment of truth."

"People in the farming community understand how he must feel. Bad enough to have killed a man, without helping the Party’s, the government’s, the country’s enemies, as well."

"He knows that the story of the Afrikaner farmer—regional Party leader and Commandant of the local security commando—shooting a black man who worked for him will fit exactly their version of South Africa."

"big, calm, clever son of Willem Van der Vyver"

"a moment of high excitement shared through the roof of the cab"

"Bad enough to have killed a man,” he believes they will say to themselves, “without helping the Party’s, the government’s, the country’s enemies, as well"

"city and overseas people"

"He [the victim] was my friend, I always took him hunting with me"

"Afrikaner farmer—a regional Party leader and Commandant of the local security commando”"

"She avoided walking past the barracks because of the machine guns the young sentries had in place of rifles."

"The ugly mansions of the rich who had fled stood empty on the bluff above the sea."

"She had not kissed on the mouth, she had not sought anonymous lips and tongues in the licence of festival. Yet she had kissed. Watching herself again, she knew that. She did not tell what happened not because her husband would suspect licence in her."

"An accolade, one side a white cheek, the other a black. The white one she kissed on the left cheek, the black one on the right, as if these were two sides of one face."

"There were two soldiers in front of her, blocking her off by their clumsy embrace(how do you do it, how do you do what you've never done before) and the embrace opened like a door and took her in -- a pink hand with bitten nails grasping her right arm, a black hand with a big-dialled watch and thong bracelet pulling at her left elbow. Their three heads collided gaily, musk of sweat and tang of strong sweet soap clapped a mask to her nose and mouth. They all gasped with delicious shock. She put up an arm around each neck, the rough pile of an army haircut on one side, the soft negro hair on the other, and kissed them both on the cheek. The embrace broke."

"When you live in a small town far from the world you read about in municipal library books, the advent of repair men in the house is a festival. Daily life is gaily broken open, improvisation takes over."

"You said: "...and I'm between two girls at the moment.' What exactly had led up to this statement that could have come at any time, that I had been ready for so long I began to forget it would ever come, and that you had been waiting to say for a specific length of time I could not know?"

"How to break in: with a name, a statement."

"The day the cease-fire was signed she was caught in a crowd. Peasant boys from Europe who had made up the colonial army and freedom fighters whose column had marched into town were staggering about together outside the barracks, not three blocks from her house in whose rooms, for ten years, she had heard the blurred parade-ground bellow of colonial troops being trained to kill and be killed."

"I would like to say something about how I feel in general about what a novel, or any story, ought to be. It’s a quotation from Kafka. He said, “A book ought to be an ax to break up the frozen sea within us.”"

"The truth isn't always beauty, but the hunger for it is."

"I can’t understand writers who feel they shouldn’t have to do any of the ordinary things of life, because I think that this is necessary; one has got to keep in touch with that. The solitude of writing is also quite frightening. It’s quite close sometimes to madness, one just disappears for a day and loses touch. The ordinary action of taking a dress down to the dry cleaner’s or spraying some plants infected with aphids is a very sane and good thing to do. It brings one back, so to speak. It also brings the world back."

"A writer doesn’t only need the time when he’s actually writing—he or she has got to have time to think and time just to let things work out. Nothing is worse for this than society. Nothing is worse for this than the abrasive, if enjoyable, effect of other people."

"If somebody is partly frivolous or superficial, has moments of cruelty or self-doubt, I don’t write them off, because I think that absolutely everybody has what are known as human failings."

"Progress is the business of making life more safe and more enjoyable . . . fuller, generally."

"Death is really the mystery of life, isn’t it? If you ask, “What happens when we die? Why do we die?” you are asking, “Why do we live?”"