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Archive for the ‘Kwela’ Category

Check out the programme for this year’s Franschhoek Literary Festival!

The quaint Western Cape town of Franschhoek will be accommodating South Africa’s literary greats from Friday 19 May to Sunday 21 May.

This annual literary festival’s 2017 line-up can only be described as one which skrik’s vir niks.

Festival-goers can expect discussions and debates featuring Rebecca Davis, author of Best White and Other Delusions, in conversation with agricultural economist Tracy Ledger (An Empty Plate) and African diplomacy scholar Oscar van Heerden (Consistent or Confused) on the ever-dividing rift between South Africans; the Sunday Times‘ contributing books editor Michele Magwood asks publishers Phehello Mofokeng (Geko Publishing), Thabiso Mahlape (BlackBird Books) and short story writer Lidudumalingani Mqombothi (recipient of the 2016 Caine Prize Winner for Memories We Lost, published in The Daily Assortment of Astonishing Things) whether there’s a shortage of black fiction authors; and poet Rustum Kozain (Groundwork) will discuss Antjie Krog, Lady Anne: A Chronicle in Verse with the acclaimed poet herself.

And that’s just day one!

Find the full programme here.

Tickets are available from


Best White and Other Anxious Delusions

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Lady Anne


An Empty Plate


The Daily Assortment of Astonishing Things and Other Stories

  • The Daily Assortment of Astonishing Things and Other Stories: The Caine Prize for African Writing 2016 by Caine Prize
    EAN: 9781566560160
    Find this book with BOOK Finder!


Consistent or Confused

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Between Two Fires: John Kane-Berman’s account of the political and social changes in SA

John Kane-Berman is uniquely qualified to look back over the enormous political and social changes that have taken place in his lifetime in this fractious country.

In his career as student leader, Rhodes Scholar, newspaperman, independent columnist, speech maker, commentator, and Chief Executive, for thirty years, of the South African Institute of Race Relations, Kane-Berman has been at the coal face of political change in South Africa.

The breadth and depth of ideas and events covered here are striking: the disintegration of apartheid, the chaos of the ‘people’s war’ and its contribution to the broader societal breakdown we see today, the liberal slide-away, the authoritarian ANC with its racial ideology and revolutionary goals, to mention only a few.

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Rethinking Reconciliation answers key questions about the extent of progress in South African reconciliation

South Africa’s first democratic elections in 1994 heralded the end of more than forty years of apartheid. The Government of National Unity started the process of bringing together this deeply divided society principally through the establishment of the Truth and Reconciliation Commission (TRC). However, interest in – and responsibility for – the reconciliation project first embodied through the TRC appears to have diminished over more than two decades of democracy. The narrow mandate of the Commission itself has been retrospectively criticised, and at face value it would seem that deep divisions persist: the chasm between rich and poor gapes wider than ever before; the public is polarised over questions of restitution and memorialisation; and incidents of racialised violence and hate speech continue. This edited volume uses a decade of public opinion survey data to answer these key questions about the
extent of progress in South African reconciliation. Leading social scientists analyse longitudinal data derived from the South African Reconciliation Barometer Survey (SARB) –conducted annually by the Institute for Justice and Reconciliation since 2003 as well as interrogate and reach critical conclusions on the state of reconciliation, including in the areas of economic transformation, race relations and social contact, political participation, national identity formation and transitional justice. Their findings both confirm and disrupt theory on reconciliation and social change, and point to critical new directions in thinking and policy implementation.

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Memories of Love and Struggle: read an excerpt from Fatima Meer’s memoir

Fatima Meer

Activist and writer Fatima Meer devoted herself to resisting racism when she was just 17 years old; the first public act of defiance in a long and pioneering life of campaigning against injustice. Assassination attempts, petrol bombs, and threats against her family did not deter this fearless, selfless, and courageous woman.

Read an excerpt from her memoir here:

There were many ways in which non-European students were discriminated against and we organised against the racist practices we encountered at the University. For example, non-European students were not allowed to wear the College blazer, the rationalisation being that the blazer was only worn by those participating in sport. So to qualify for the blazer we first had to qualify for the College sports teams, but we were not interested in sports. We insisted that the blazer belonged to the University and we as students of the University thus had the right to wear the blazer. We insisted that the rules regarding the wearing of the blazer be changed to make it accessible to all students. We were also not allowed to be members of the National Union of South African Students (NUSAS) in those days. Phillip Tobias, 40 as I recall, was then the president of NUSAS and he held a NUSAS meeting at Sastri College. I made a point of attending the meeting and I challenged him on the exclusion of non-European students from NUSAS. Mabel Palmer, the Fabian socialist who organised the non-European section of the University and was one of our lecturers, had the task of ensuring that the NUSAS meeting remained pure white. She sent her secretary to check whether there were any non-European students present and the secretary, on finding me present, asked me to leave. I refused and criticised NUSAS for its racism. The University used to have dances but they were petrified that there would be “mixed” dancing between European and non-European students and so the senior marms used to be put on duty to ensure that rule was never infringed. The expedient explanation was that it was in the interest of the non-Europeans that these rules were observed because if the white community heard of mixed dancing on the campus, they would insist on closing down the non-European section of the University. The Drama Department staged a play by Shakespeare at the main campus and free tickets were offered to the non-European students. However, these were for segregated performances and the non-European Student Representative Council took the decision to refuse the tickets. Mabel Palmer called me in together with a few other students and tried to persuade us to attend the performance. Her final argument was to recite the dictum ‘All work and no play made Jack a dull boy’. Our retort was that none of us were ‘Jacks’. We were ‘Fatimas’, ‘Vassies’ and ‘Muthumas’.

That year the officials of the non-European SRC called on the non- European graduates to boycott the graduation ceremony until such time as the University eliminated their practices of racially segregated seating of parents and of presenting graduates by race (rather than in alphabetical order). The first two names on the statement protesting the segregation were those of fellow student activist Vasi Nair and myself. Mabel Palmer called the two of us into her office. She argued that we had accepted segregated classes, why then did we object to segregation at the graduation ceremony. We told her that we needed the education and it was only available to us through segregated classes. Attending segregated classes was degrading, but we were prepared to concede that degradation out of necessity. However, we could exercise a choice in attending the graduation ceremony or not. Our view was that this liberal white university had every freedom to desegregate its student body. All in all, that graduation ceremony was farcical as students heeded our boycott graduation call. The non-European students were just not there. As the graduation ceremony began it became clear that this was a “whites only” ceremony. The City Hall was clearly demarcated between non- European and European seating. As always the academic procession was all white. There was an awful emptiness and silence as the names of non-European students were called out. No other university had pretended to offer post-matric education to non-Europeans. Every other university had obsequiously heralded the apartheid logo of the racist government. In my exhilaration, I felt sorry for the Trojans like Mabel Palmer, Florence McDonald and Elizabeth Sneddon who had set up the classes for non-European students. I wished they were equally victorious with us because in fact they sympathised with us, even though they did not articulate that sympathy.

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Boekbekendstelling: Alles het niet kom wôd deur Nathan Trantraal

Alles het niet kom wôdRoché Kester, köordineerder van die gewilde Grounding Sessions sal met Nathan Trantraal in gesprek wees.

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Hier kom ’n ding: Nathan Trantraal se tweede digbundel verskyn op rakke

Alles het niet kom wod

Die bekroonde en opspraakwekkende digter, Nathan Trantraal, se tweede digbundel Alles het niet kom wôd is op 15 Februarie gepubliseer.

Aanhangers van dié gerekende digter kan enerse temas wat in sy debuutbundel, Chokers en Survivors verskyn het, verwag. Klas, ras, familielewe en politiek word met eerlikheid, rouheid, erns, en humor in Trantaal se digkuns vasgevang, maar met Alles het niet kom wôd sluit Trantraal die tema van seksualiteit in, en dig ook oor die stedelike en religieuse milieu van sy grootwordjare.

Danie Marais sal tydens Stellenbosch se Woordfees op 11 Maart om 17:30 in die ATKV-boektent met Trantraal in gesprek tree oor sy digbundels.

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Hedley Twidle interviews Rustum Kozain for Wasafiri 86 – Unsettled Poetics: Contemporary Australian and South African Poetry

Hedley Twidle interviews Rustum Kozain for Wasafiri 86 – Unsettled Poetics: Contemporary Australian and South African Poetry
This Carting LifeGroundwork


The publishers of Wasafiri magazine have kindly shared an excerpt from issue 86: a conversation between Hedley Twidle and Rustum Kozain.

This special issue of WasafiriUnsettled Poetics: Contemporary Australian and South African Poetry – features poetry by Kozain, Harry Garuba, Ingrid de Kok, Antjie Krog, Mxolisi Nyezwa and Karen Press – among others – articles by Kelwyn Sole and Finuala Dowling, as well as reviews, interviews and art. Guest editor Ben Etherington calls it “a significant undertaking, with 24 contributors, new works from 13 poets, essays and interviews”.

Wasafiri 86 - Unsettled Poetics: Contemporary Australian and South African Poetry“It is the first issue of Wasafiri focused on either Australian or South African poetry,” he adds.
If you are interested in purchasing Wasafiri’s Special Issue Unsettled Poetics: Contemporary Australian and South African Poetry (no. 86 Summer 2016) please email
Below is an excerpt from Twidle’s contribution: “An Interview with Rustum Kozain”, in which the two discuss the decline of literary criticism, the perils of nostalgia, and the exhaustion of imagination in the current South African moment, as well as the influences and aesthetics of Kozain’s poetry.

We would recommend you order the magazine so that you can enjoy the interview in its entirety.

Twidle is a senior lecturer in the English Department at the University of Cape Town, who writes regularly for the New Statesman, Financial Times and Mail & Guardian.

Kozain is the author of two award-winning books of poetry, The Carting Life and Groundwork, and the only person to win the Olive Schreiner Prize twice in the same genre.

* * * * *

An Interview with Rustum Kozain

By Hedley Twidle

Rustum Kozain was born in 1966 in Paarl, South Africa. He studied for several years at the University of Cape Town (UCT) and spent ten months (1994-1995) in the United States of America on a Fulbright Scholarship. He returned to South Africa and lectured in the Department of English at UCT from 1998 to 2004, teaching in the fields of literature, film and popular culture. Kozain has published his poetry in local and international journals; his debut volume, This Carting Life, was published in 2005 by Kwela/Snailpress.

Kozain’s numerous awards include: being joint winner of the 1989 Nelson Mandela Poetry Prize administered by the University of Cape Town; the 1997 Philip Stein Poetry Award for a poem published in 1996 in New Contrast; the 2003 Thomas Pringle Award from the English Academy of Southern Africa for individual poems published in journals in South Africa; the 2006 Ingrid Jonker Prize for This Carting Life (awarded for debut work); and the 2007 Olive Schreiner Prize for This Carting Life (awarded by the English Academy of Southern Africa for debut work).

The following conversation took place on 31 July 2015 at Rustum Kozain’s flat in Tamboerskloof, Cape Town. Prior to my arrival, Rustum had prepared a chicken balti with cabbage according to a recipe from Birmingham, and also a dry cauliflower and potato curry. During our discussion (lasting one and a half hours, condensed and lightly edited here) he occasionally got up to check on the dishes – which we ate afterwards with freshly prepared sambals.

Hedley Twidle  Rustum, you wrote an article for Wasafiri twenty-one years ago (issue 19, Summer 1994) in which you discuss the reception of Mzwakhe Mbuli’s poetry. There you were sceptical of South African critics who were lauding his work and its techniques of oral performance as if these things had never happened before. You suggested that if one looks at Linton Kwesi Johnson (LKJ), there is an equally established and perhaps more skilful tradition of this in another part of the world. My response after reading the article – because you take issue with several critics of poetry – my response was: ‘Well, at least people were discussing South African poetry.’ I can’t think of a similarly invested debate around the craft of poetry going on now. Or am I not seeing it?

Rustum Kozain  That’s an interesting question, especially as so many people now seem to consider poetry as this casual activity, which is dispiriting. There isn’t a discussion of, to use the basic terms, whether a poem is a good poem or whether it is a terrible poem. My sense is that we talk about poetry, and literature more generally, simply in terms of its content or its thematic concerns. Some of the controversy around the Franschhoek Literary Festival – or one of the points raised by younger black writers – was that they (the writers) are treated as anthropological informants. They link it specifically to a history of apartheid and racism in South Africa where the black author is there to answer questions about what life is like for a black person, to a mainly white audience. But I think it goes beyond race. In general, literary criticism has kind of regressed into simply summarising a content that is readily available. Part of the reason I think poetry disappeared off syllabuses in South Africa towards the late 1980s and early 1990s is that fewer and fewer teachers at university were prepared for or knew how to engage with teaching poetry beyond analysing its contents.

I had been listening to Linton Kwesi Johnson since I was a teenager, so when Mzwakhe Mbuli exploded onto the scene in South Africa and people were hailing him as someone who had revolutionised English poetics, I thought: ‘These people must be talking crap; have they not heard Linton Kwesi Johnson who was doing it ten years before and in a much better way?’ So my argument was partly about how people are evaluating literature and it was clear that Mzwakhe Mbuli was hailed also because his politics were seemingly progressive and he was on the side of the anti-apartheid struggle. That wasn’t enough for me to want to listen or read his poetry again and again – one wanted to talk about the aesthetics of his poetry.

HT  I suppose we’re getting closer now to the thematic of the issue which is about poetic craft at a time of cultural contestation. You’ve mentioned Linton Kwesi Johnson and you’re often referring to musicians in your poetry; obviously you are drawing a great deal from an auditory response or imagination, but your poetry is not like LKJ’s at all. In fact, I read it as quite a written form of poetry; I think Kelwyn Sole had a nice phrase for it. He said it has a ‘deliberative sonority’ – which I like because even that phrase sort of slows you down and I find that your poetry slows a reader down. I wonder if you could speak a bit about the fact that you’re in some senses devoted to the sonic, auditory, to sound, to jazz. I think Charles Mingus was playing when I arrived – you’ve written poems about him – and yet there’s quite a disciplined – I want to say almost modernist – restraint to a lot of your poetry.

RK  I think a large part, if not the largest part, of my influences would be modernist and what comes after modernism. I studied at university in the 1980s when modernism was still a significant part of the English literary syllabus at the University of Cape Town, so that is a part of me. But even before I enrolled for English, an older friend introduced me to ‘Prufrock’ [by TS Eliot]. And I thought this poem was remarkable because it was something completely different from what we were used to at school, which were typically a few Shakespeare sonnets, some Victorian poetry, I don’t think any of the Romantics.

The idea of sonority – I have to agree with you. I do have a thing for the sound of words. So the sound of a word often plays a large part in its choice in a line or a poem. Why don’t I sound like Linton Kwesi Johnson? That’s one of my greatest frustrations in life [laughs] – that I can’t write like Linton Kwesi Johnson in any believable way. Part of that is because I don’t have a Caribbean background. A large part of Linton Kwesi Johnson’s charm has got to do with the language he is using, which is tied so closely to drum rhythms in the Caribbean. He has a gift but he also has that legacy or that inheritance that he can work with. I’ve tried writing parodic poems in [my reggae-sourced] Jamaican Creole, but it’s rubbish. I’ve tried writing hip hop as well, but there is a particular skill in composing for oral performance that I don’t have.

HT  I was raising the question of slowness, but certainly not as a lack. Because, in a sense, what I find when reading poetry nowadays is the need to remind myself to slow down. I think we’re all programmed to read so fast now – online and on screens – to read instrumentally and for content. So I sense the kind of syntactical mechanisms you put in place to ensure a certain productive slowness.

RK  There are two things that definitely lie behind the slowness in much of my poetry. The one thing is that I feel myself to be a frustrated filmmaker, so my poems are often visual and it’s often as if a camera were panning across a scene. The other thing that lies behind this kind of slowness was something Kelwyn Sole said – or someone said in a blurb on one of his books – it has to do with his poetry looking at the quiet or the silent moments and trying to unpick what goes on in those moments; to think about what happens on the edges of normal events.

HT  At the end of your essay ‘Dagga’ you talk about the question of nostalgia, around which there have been a lot of debates recently, especially following from Jacob Dlamini’s Native Nostalgia in which he reminisces about growing up in Katlehong outside Johannesburg. He begins the work with quite a complex rhetorical position, he asks: ‘What does it mean to remember elements of a childhood under apartheid with fondness?’ It’s a question that was often taken up by reviewers (some of whom refused to read the book at all) as evidence that his book should be filed in the ‘apartheid wasn’t that bad’ genre, that he was pining for bad old days. I don’t think you’ve ever been accused of that in any way; but I wonder if you can talk a bit about the perils of nostalgia in our cultural moment, in which certain forms of subjectivity and expression are being policed in some ways?

RK  It is an interesting and, for me, a very central question. At times I get despondent about what I’m doing because I think that it could just be dismissed as exercises in nostalgia. I think we tend towards nostalgia as we grow older. Whether nostalgia in general is a pathology or whether it’s something positive, I don’t know. For me the moment we are living in in South Africa is a nightmare moment. So part of my looking back is also to try and deal with this weird and perverse relationship we have between the present – which is a nightmare – and the past – which was a nightmare, but during which we had this hope or this dream of an escape from a nightmare. The thing we looked forward to, that added something to our lives. But that added value is nowhere to be found in the present moment. When I write in ‘Dagga’ about growing up in Paarl, yes it is partly the nostalgia of a man turning fifty and it’s a nostalgia for a place partly because of biographical migrations away from that place and away from the social relations of that place as well. So those are two properly nostalgic impulses. Part of this – and I’ve come across this idea in many writers, most prominently in Mandelstam – is the desire to freeze time. For me that’s what I try almost every time I write a poem, to freeze time in the non-fiction, in the prose – to freeze time at that time when there was still hope, in a way, that’s part of it.

HT  So why is the present a nightmare?

RK  Do you have to ask? I never studied politics or sociology or political economy so I’m very reticent to talk politics as such. That’s probably why I write poetry, because in poetry you can get away with associative meanings. You don’t have to be completely rational, analytic, precise, so you can make political statements under the cover of the associative meanings that poetry allows you. I’m happy to expose myself in my poetry because, I think, there I can say things – maybe it’s a lack of courage, but there I can say things that people can’t challenge me with, with the whole locomotive and carriages of expert knowledge. So I’m reticent to talk about politics straight up, but South Africa is not the place that we imagined in the seventies and eighties that we were going to create. On the one hand conservatives and reactionaries can laugh at us and say ‘Well, what did you expect? What did you expect from a liberation movement that was communist inspired?’ and all that nonsense. But at the same time we had a dream and we lost a dream. What do we do now?

HT  A poem that really struck me when reading across your work was ‘February Moon’, Cape Town, 1993. I was quite taken aback when I saw the date because at the time it must have seemed pessimistic. But now this kind of discourse and this kind of dissatisfaction is gaining ground; in a sense it has become our daily bread. So my question then is about rhetorical exhaustion. Because how can you, on the one hand, ‘make it new’ in the Poundian sense; but, on the other hand, how do you (any ‘you’ that is politically aware) keep saying the same thing for years and years and years? There’s a line from Arundhati Roy that I often think of at the end of her essay ‘The End of Imagination’ – which is about India and its nuclear programme. She says

Let’s pick our parts, put on these discarded costumes and speak our second-hand lines in this sad second-hand play. But let’s not forget that the stakes we’re playing for are huge. Our fatigue and our shame could mean the end of us. (Roy 122)

How does one deal with or ward off a kind of exhaustion about having to say the same things which, in a sense, is what politically astute people have had to do for over two decades now?

RK  If you find yourself repeating yourself, what do you do? For me there is an exhaustion, but not of the imagination. Much of my poetry is not written from the imagination – I don’t imagine scenarios and portray characters in a particular scenario or events. My poetry is directly about a certain reality, my reality or something I see out there, but I understand what Roy means by an exhaustion of imagination and I think our state, our government, our civil servants, the service industry, the way people interact with each other, the advertising industry, representations of South Africa in the media, by our own media, how we see ourselves and how we understand our relationship with each other – there’s no imagination, there’s no vision, there’s no forethought. So my surroundings, my context, my circumstances exhaust me. Especially if they cohere around certain ideas of the nation and what has happened politically in South Africa – that I would have touched on in previous poetry. So you just sit there and you go: ‘Why does no one read my poetry?’ [laughs] It is not just me. This has been one of Kelwyn’s hobby horses; that when you read South African poetry, there has been a constant and continuous fatigue since the early nineties about the new South Africa running through our poetry. But since no one reads poetry, no one’s hearing the poets and no one’s listening to the poets.

At the moment I’m in a kind of trough where it concerns my own writing because a lot of my poetry now has a wider focus; it’s not only about South Africa, it’s about other things as well. And they’re difficult subjects, it’s difficult to treat these subjects with the kind of gravitas that they require and to resolve that treatment in the poetry. And it is not only South Africa; the rest of the world seems to have lost that foresight, vision, imagination in the way global politics and economics are run. My exhaustion is globally inspired, though it may only have a local impact [laughs].

For the full interview, purchase Wasafiri’s Special Issue Unsettled Poetics: Contemporary Australian and South African Poetry (no. 86 Summer 2016) by emailing

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Book Bites: 10 July 2016

Published in the Sunday Times

ShanghaiShanghai Grand
Taras Grescoe (Macmillan)
Book fling
Based on a real-life romance, Shanghai Grand developed into a most intoxicating book. Zau was a handsome, cosmopolitan Chinese poet; Mickey was a beautiful and outrageous American journalist: they met in Sir Victor Sassoon’s fabulous Cathay Hotel in 1936 and fell scandalously in love. The people they encountered range from gangsters to Russian aristocrats, authors to spies, millionaire colonials to Jewish refugees, but most fascinating of all is the seductive city of Shanghai. — Aubrey Paton

Dogs of CourageDogs of Courage
Clare Campbell (Corsair)
Book buff
During World War 2, the British government set out to recruit an army of dogs. This is a fascinating compendium of stories about the adventures of those hounds who went to war. A military, feminist and canine history tour told with warmth and empathy. The narrative style did get a bit plummy and a tad jingoistic at times, but a compelling historical read nonetheless. — Zoe Hinis @ZoeHinis

The Noise of TimeThe Noise of Time
Julian Barnes (Knopf)
This slim fictional account of the life of Dmitri Shostakovich starts in 1936. It’s the height of the purges, and the composer’s latest opera has found disfavour with Stalin. As Shostakovich waits for what he assumes will be his arrest and death, he recalls the circumstances that have led him to this point. He dodges that bullet, but for the rest of his life he has to balance his artistic and moral integrity with his survival; his complicity in his own and other musicians’ humiliations leaves him trapped and guilty. Barnes treats his historical research with a light hand, keeping the focus intimately on his protagonist’s perspective, to deliver an oddly gripping, affecting and occasionally darkly humorous novel. — Kate Sidley @KateSidley

Out of OrangeOut of Orange: A Memoir
Cleary Wolters (HarperCollins)
Book buff
How does a normal person in their 20s get involved in drug smuggling? According to Cleary Wolters, it’s one stupid bad decision after the other — and the allure of easy money. Wolters wants to make things clear: that even though the character of Alex Vause from Orange is the New Black is based on her, there’s plenty that’s not true in the TV show. For one: she didn’t sleep with Piper in prison. Told in a matter-of-fact way, Wolters’s story is sad, often depressing and completely fascinating. — Jennifer Platt @Jenniferdplatt

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Sign up for a week-long creative writing workshop with Zukiswa Wanner at Bridge Books

London – Cape Town – JoburgRefilweMaid in SAMen of the SouthBehind Every Successful ManThe Madams

Zukiswa Wanner will be hosting a short story workshop at Johannesburg’s newest independent bookshop, Bridge Books.

The workshop will take place from Monday, 8 August to Thursday, 11 August (including the Women’s Day public holiday) and costs R1,500 for the week. Interested writers should email Wanner their draft in advance.

By the end of the workshop you should have a polished story, ready for submission to a competition or publication.

More from Bridge Books:

“I don’t really understand a novel,” Alice Munro once said in an interview. “I don’t understand where the excitement is supposed to come in a novel, and I do in a story. There’s a kind of tension that if I’m getting a story right I can feel right away, and I don’t feel that when I try to write a novel. I kind of want a moment that’s explosive, and I want everything gathered into that.”

Some writers look at short stories as a sort of warm up lap, before they plunge into a novel. But short stories present their own unique challenges, and require a certain set of skills to master. For readers, short stories also bring special joys.

Acclaimed writer Zukiswa Wanner will spend one week at Bridge Books working with a group of 10 writers on perfecting their short stories. To get the most out of the workshop, writers should have a draft or at least a premise of a story. The drafts will be emailed to Zuki by 24 July, so that she can prepare to mentor each writer and facilitate a group discussion productively.

By the end of the week, writers should have a polished story ready for submission to contests and publications. Bridge Books will help with contacts for literary magazines and contests, so that writers can find a home their work. If writers are willing, the stories will also be published on the Bridge Books website.

There’s no preconditions for joining the workshop: just a desire to write, to work hard at writing, and to have fun doing it.

Please note that the workshop runs during the Women’s Day public holiday.

Event Details

  • Date: Monday, 8 August to Thursday, 11 August 2016
  • Time: 6:30 PM to 8:30 PM
  • Venue: Bridge Books
    85 Commissioner Street
    Johannesburg (On the Mezzanine at the City Central food hall) | Map
  • Guest Speaker: Zukiswa Wanner
  • Cover charge: R1,500
  • RSVP: Bridge Books,, 079 708 4461
  • More information: Bridge Books

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Don’t Miss Bloody Parchment, a Horrorfest Literary Event with SA Partidge and Other Authors, at the Labia Cinema

Invitation to Bloody Parchment
Bloody ParchmentBloody Parchment: The Root Cellar

Horrorfest would like to invite you to a this year’s Bloody Parchment, South Africa’s favourite Halloween literary event.

SA Partridge has taken over Bloody Parchment this year, and will chair the event, which will feature 10 other writers: Alex van Tonder, Cat Hellisen, Diane Awerbuck, Joanne Hichens, Karina M Szczurek, Kathryn White, Rae Rivers, Nathan Trantraal Jungle Jim founder Jenna Bass and international special guest Calum Waddell.

Sharp EdgesThis One TimeBeastkeeperThe Ghost-Eater and Other StoriesChokers en survivors
Incredible JourneyInvisible OthersAnna Peters' Year of Cooking DangerouslyThe Keepers: Declan

Bloody Parchment will be held at the Labia Cinema on Thursday, 29 October from 6 to 8 PM, with prizes for the best dressed and copies of James Patterson books and SL Grey’s Under Ground up for grabs.

See you there!

Event Details

  • Date: Thursday, 29 October 2015
  • Time: 6 PM to 8 PM
  • Venue: Labia Cinema
    68 Orange Street
    Gardens | Map
  • Panel: SA Partridge (chair), Alex van Tonder, Cat Hellisen, Diane Awerbuck, Joanne Hichens, Karina M Szczurek, Kathryn White, Rae Rivers, Jenna Bass and Calum Wadell
  • Refreshments: Snacks will be served
  • More information: Bloody Parchment

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