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Boekbekendstelling: Jan Smuts - van boerseun tot wêreldverhoog

Jan Smuts, een van die bekendste Suid-Afrikaners van die twintigste eeu, bly ‘n omstrede figuur. Was hy een van die uitstaande staatsmanne van sy tyd of dalk ‘n verraaier van Afrikanerbelange en moontlik ‘n rassis?

In hierdie boek word generaal J.C. Smuts herwaardeer.

Smuts se rol as intellektueel (onder meer vader van holisme), militêre strateeg (hy het ‘n leidende rol tydens drie oorloë gespeel), politikus (vir ‘n halwe eeu in die “era van die generaals” was hy prominent) en staatsman (hy was ‘n dryfkrag agter die vorming van die Unie van Suid-Afrika, die Britse Statebond, die Volkebond en die Verenigde Nasies) word beoordeel. Altesaam 20 outeurs het help skryf.

Besonderhede

Come see Modjaji's Stellar Authors at the Franschhoek Literary Festival

Franshhoek Literary Festival

 
This year’s edition of the annual Franschhoek Literary Festival is being held from the 19th to the 21st of May. Modjaji is proud to have some its authors among the ranks who will soon file into town to fill it with vibrant ambience and all the bookish conversation one could dream of.

Tickets are priced at R70 per event, and are on sale via Webtickets. A limited number of student tickets are available for R20 per event – verification will be required.

Don’t miss our authors discussing their work at these not-to-be-missed panel discussions:

Philippa Mamutebi Kabali-KagwaFlame and SongPhilippa Namutebi Kabali-Kagwa
 
FRIDAY 14h30-15h30
[25] Writing their continent (Old School Hall): Darrel Bristow-Bovey invites Philippa Namutebi Kabali-Kagwa (Flame and Song) and Abubakar Adam Ibrahim (Season of Crimson Blossoms) to share how they reveal their love and knowledge of Africa through fact and fiction.
 
SATURDAY 10h00-11h00
[45] The transformative power of reading (Council Chamber): Jacques Rousseau discusses the intellectual, social and personal impact of reading, with Bronwyn Law-Viljoen (The Printmaker) and Philippa Namutebi Kabali-Kagwa (Flame and Song).
 
SUNDAY 11h30 – 12h30
[95] Writing my family: (Council Chamber): Negotiating the path between family sensitivities and the author’s right to write the story as they choose is a skill that Daniel Browde, Neil Sonnekus and Philippa Namutebi Kabali-Kagwa have all developed. They tell Hagen Engler how they did it.
 

Jolyn PhillipsTjieng Tjang Tjerries and other storiesJolyn Phillips

 
FRIDAY 13h00-14h00
[23] I write short stories because… (Elephant & Barrel): Are they easier than long fiction, more lucrative than nonfiction, more popular than Harry Potter? Jolyn Philips (Tjieng Tjang Tjerrie) asks fellow writers Harry Kalmer (A Thousand Tales of Johannesburg), Ken Barris (The Life of Worm and Other Misconceptions) and Marita van der Vyver (You Lost Me) what it is about this form that appeals to them as they discuss the challenges of writing in the short form.
 
SUNDAY 10h00 – 12h00
[90] Workshop: Hide & Seek Poetry (The Hub) Sometimes the writing comes easily, but what do you do when the spring dries up or you have more sand than compost in your head? Come and learn to hunt and gather words at a two-hour poetry workshop with poets Jolyn Phillips and Karin Schimke. Tickets R120 through Webtickets.
 
SUNDAY 13h00 – 14h00
[104] The polylinguists (The Hub) Tom Dreyer asks Jennifer Friedman (English/Afrikaans) and Jolyn Phillips (English/Afrikaans/French) whether the ability to speak and write in different languages is a help or a hinderance?
 
Dawn GarischAccidentDawn Garisch
 
SATURDAY 13h00-14h00
[63] Dark things brought to light (Elephant & Barrel): Fred Strydom (Inside Out Man), Dawn Garisch (Accident) and Dale Halvorsen (Survivors’ Club with Lauren Beukes) discuss the darker side of human nature as reflected in their writing, and why readers feel the need to be disturbed.
 
Ishara MaharajNamaste LifeIshara Maharaj
 
FRIDAY 13h00-14h00
[22] The power to move us (Hospice Hall): Ishara Maharaj (Namaste Life) and Dennis Cruywagen (The Spiritual Mandela) discuss the joys and challenges of writing of spiritual matters in a contemporary world.
 
 
Colleen HiggsLooking for TroubleLava Lamp PoemsHalfborn WomenColleen Higgs
 
SUNDAY 13h00 – 14h00
[102] What publishers want (Council Chamber): In preparation for next year’s projected Porcupine’s Den event (think ‘Dragon’s Den’ for writers), would-be authors get to pick the brains of publishers Ester Levinrad (Jonathan Ball), Phehello Mofokeng (Geko Books) and Thabiso Mahlape (BlackBird Books), led by Colleen Higgs (Modjaji Books). Other publishers are welcome to attend and weigh in on the discussion.
 
Karin SchimkeBare and BreakingKarin Schimke
 
SUNDAY 10h00 – 12h00
[90] Workshop: Hide & Seek Poetry (The Hub) Sometimes the writing comes easily, but what do you do when the spring dries up or you have more sand than compost in your head? Come and learn to hunt and gather words at a two-hour poetry workshop with poets Jolyn Phillips and Karin Schimke. Tickets R120 through Webtickets.
 
Helen MoffettStrange FruitStrayHelen Moffett
 
SATURDAY 14h30-15h30
[70] What is feminism, and who ‘owns’ it? (Ebony Gallery): Helen Moffett (Prunings) asks the questions of poet and singer Blaq Pearl and Thabiso Mahlape (BlackBird Books).
 
SUNDAY 10h00-11h00
[87] A few good editors (Council Chamber): Alison Lowry and fellow editors Helen Moffett, Phehello Mofokeng and Thabiso Mahlape discuss the consistent criticism around the literary world of ‘poor editing’ and the state of the industry in South Africa.
 
Michelle HattinghI'm the Girl Who Was RapedMichelle Hattingh
 
SATURDAY 16h00-17h00
[73] From victim to survivor (Old School Hall): Michelle Hattingh (I’m the Girl Who Was Raped) uncovers stories of courage, faith and perseverance in the face of opposition and adversity as told by Grizelda Grootboom (Exit), Lindiwe Hani (Being Chris Hani’s Daughter) and Shamim Meer (Memories of Love and Struggle).
 
Shirmoney RhodeNomme 20 Delphi StraatShirmoney Rhode
 
SUNDAY 11h30 – 12h30
[93] Playing with words (Hospice Hall): On knowing the rules of writing, and how to break them: Sue de Groot tests the boundaries of poets Blaq Pearl and Shirmoney Rhode (Nommer 20 Delphi Straat), and novelist Claire Robertson (The Magistrate of Gower).

Book details

Purchase books directly from the publisher here

Scars that Shine a "necessary brick in edifice of the arts and culture of our country," says Peter Terry

Book reviewer Peter Terry recently appeared on Tamara LePine Williams’ Lifestyle Show on ClassicFM, during which he discussed Donvé Lee’s latest book, Scars that Shine.

Terry lauded the book and mentioned how he inadvertently typed Stars that Shine whilst penning his interview notes, describing it as a “wonderful book”.

Lee wrote the biography in the first person, and according to Terry has captured his personality and spirit and who he was “absolutely brilliantly”.

Listen to the full interview here.

Book details

Jonathan Jansen and his sister Naomi Jansen pay tribute to their mother in Song for Sarah: Lessons from my Mother. Read the extract.

Published in the Sunday Times

In this extract, Jonathan Jansen pays tribute to the mother whose sacrifices helped him and their siblings achieve success despite the odds

Song for SarahSong for Sarah: Lessons from my Mother by Jonathan Jansen with Naomi Jansen (Bookstorm). Also available in Afrikaans as Lied vir Sarah: Lesse van my Ma

“When you thought about it, everything seemed to work against the Cape Flats mother, from family dislocation to financial hardship, to absentee fathers, to the relentless pressure of gangs and drugs. As an energetic teenager involved in church youth leadership in the southern areas, this single question would haunt me during the obligatory huisbesoek (house visits): how on earth do these mothers do it?

Consider Mrs Volmink from Belgravia Estate in Athlone who put four boys and two girls through tertiary qualifications. One son leads a university, another is a medical school dean, and the other a prominent public sector lawyer; in their number you would also find a distinguished teacher and one who made his career in the training and development of civil servants. The eldest daughter died after a car crash because the whites-only ambulance would take only her pale friend. For long periods of time Johanna Volmink raised the children alone. Hardship was ever present in her home and yet not a single child fits the stereotype represented in comedy routines or violent novels or the evening news. When it came to human decency, academic achievement and community service, Mrs Volmink achieved much more in her home than any of the white families I knew in the well-to-do suburbs of Upper Claremont and Wynberg Proper.

As I pondered that haunting “how” question about these mothers over the years I realised that the answer was in front of me, all around me, even gave birth to me. That Cape Flats mother was Sarah Susan Johnson, married Jansen. Suddenly it all made sense. How they dealt with their pasts. How they organised their homes. How they raised their children. How they made sense of politics. How they managed affection. How they drew on their faith. How they communicated core values. How they thought about education. How they led with their lives.

The products of their labour were no accident, as the poet Shirmoney Rhode would tell Litnet of the grandmother who raised her at Nomme 20 Delphi Straat (the 2016 book title) in Elsies River:

Ek is ’n produk van haar 3am prayers

En harde werk of course

(I am a product of her 3am prayers

And hard work of course)

The Cape Flats mother was not faultless. Who is? To the children growing up, the mother was seen as being too harsh at times but was always deeply respected. This praise song is not, however, about the failings of our mothers but about the fact that they succeeded at all. None of the children was perfect. Whose are? To the mother the child was never one to be abandoned in the wrong but to be picked up again and again, and nudged towards what was right. And they did this work of correction day after day, for weeks followed by months, and year after year, sometimes even into adulthood and marriage.

The matriarchal figure hovered over that child for life. Many stories have been told on the Flats of a small-bodied mother reaching out to deliver retribution to the tall, well-built son who stands there quietly as he takes the timid smack to the face or the ineffectual punch to the body. She had earned the right to reprimand her grown child. This story of the Cape Flats mother, and of many mothers across the length and breadth of South Africa, will be told in this book.

Being the eldest in the family, my siblings suspected that I was favoured by my parents. Of course I felt differently because of the constant pressure from my mother to “set the example” as the eldest. “Firstborn”, my sister would nevertheless tease me, and that will be my third-person voice in the main text. For a reality check, I asked this sister of mine to add in her own reflections on our mother as the only girl smack bang in the middle of two older and two younger boys.

Naomi Jansen has the knack of saying and seeing things as they really are. One day that sting in her commentary really got to me as a boy so I chased her along the very short route from the kitchen to her bedroom. By dint of practice she managed to dash into the room, close the door and secure the latch bolt lock in one and the same swift action but it was too late. I ran right through the flimsy green planks of that wooden door. The personal shock probably saved my sister from further repercussions although I never could raise a hand against any of the siblings.

Her sharper eye and tongue therefore qualify Naomi to give another view of our mother. My sister’s voice appears in italics as “Naomi remembers”. In appropriate places she shares her own experiences and insights into our remarkable mother. Sometimes Naomi’s recollection or interpretation of events is different from mine, and that is fine. It is what gives this work of memory an added and special value.

“While you are under this roof,” my mother would often chide, “you will do as I say.” Under this roof is both a telling metaphor about us and the interwoven tiles above us. Sarah knew that she had little direct control over what happened in the harsh outside world. We would all grow up one day and make our own decisions as working adults and parents of children. There was little our mother could change about that. But while under her roof, the rules applied. That was where she had authority over the five children and, as will be explained, also over her husband. There was not much overhead roof to speak of in the small council house, but anyone who stayed in that confined space, including a string of relatives, would abide by Sarah’s rules.

It was under Sarah’s roof that I learnt how to live and where she would teach us how to die. Under that roof I learnt the value of selfless giving and the importance of personal discipline. Sarah did not only tell, she showed. And nothing impressed more heavily on the children’s consciousness than what my mother taught us about the ethics of work. She laboured day and night, literally, as a shift nurse. “Nobody ever died of hard work,” she would say all the time and you knew that offering a medical science rebuttal might lead to a premature meeting with your Maker.

Mrs Sedras, Mrs Volmink and Mrs Jansen are not alone. There are thousands of mothers spread across the Cape Flats and throughout South Africa who deserve recognition for their heroic efforts in raising families under difficult conditions. On one hand, this book could be read as an attempt at recovery of “the other mothers” whose stories have been buried by unrelenting stereotypes of women from the flatland areas of the Cape. On the other hand, such heroic mothers are found in every community where ordinary people struggle to make impossible ends meet. This work of recovery is offered, therefore, as a song of gratitude for all mothers.

Or to borrow from Diana Ferrus in A poem for Sarah Baartman:

I have come to take you home

Where I will sing for you

For you have brought me peace

The floppy brown purse
Nothing would test Sarah’s resilience more sorely than when the children went to university. Apartheid created universities for people they labelled by both race and ethnicity. Since Firstborn was deemed coloured, his destination was the University of the Western Cape in Bellville; the University of Cape Town was so much closer but they could not have him. The young student was also proud enough not to plead for a government concession (the permit, they called it) to attend a white university and specify a course not offered at UWC to justify studies in nearby Rondebosch.

The long journey from Retreat in the southern suburbs to Bellville in the northern areas took forever. And it was costly. One Monday morning Firstborn desperately needed money to take the taxi, train and bus to get to university. Hiking, as he normally did when there was no money, might get him to campus too late for a scheduled chemistry test. So he slunk into the bedroom where Sarah was in a deep sleep after working the hospital night shift. “Does Mummy have any money?” he whispered and instantly woke her up.

Sarah knew that she did not have a cent but nevertheless reached for her flat brown purse, opened it up and pretended to search for coins among the scribbled papers inside. There was nothing and the tears started welling up in her eyes. That day Firstborn decided to drop out of university and look for a job; the pain on Sarah’s face was simply unbearable.

Of course that was the last thing Sarah wanted and so one day she arranged with an uncle to collect Firstborn and drive him to Bellville while persuading him all along the way not to give up. If Sarah had not made that arrangement Firstborn would still be drifting between Anchor Yeast where he started in a laboratory with far too few skills and helping a brother from the church sell his fish on Prince George Drive, the M5 which linked the white suburbs to the north with the whites-only Muizenberg beach on the False Bay coastline. Where Sarah found the money none of the children ever knew, but from that day there were always a few coins in her purse “just in case” Firstborn needed them. But he never asked again.

Book details

"Meer se verhaal van moed, ontbering en vasberadenheid is inspirerend," skryf Theunis Engelbrecht

Theunis Engelbrecht het onlangs Fatima Meer se lewensverhaal, Memories of Love and Struggle, vir verskeie plaaslike boekeblaaie geresenseer.

Dié boek is aanvanklik as ‘n outobiografie geskryf, maar Meer het gesterf voor dit gepubliseer is; haar dogter, Shamim, het dit voltooi.

Engelbrecht beskryf Memories of Love and Struggle as ‘n “pragtige” boek, wat boonop mens ‘n groter insig gee in die rol wat Indiërs in Suid-Afrika gespeel het.

Hy voeg ook by dat Meer se verhaal van moed, ontbering en vasberadenheid inspirerend is, en ‘n “eg menslike verhaal van ‘n persoonlike lewe vol hoogte- en laagtepunte” is.

Lees Engelbrecht se volledige resensie hier: Fatima Meer – Rapport Weekliks – 30 April 2017 (1)
 
 

Boekbesonderhede

"Semi-forgotten '70s musician expertly biographed" - Karina Szczurek reviews Scars That Shine

Karina M. Szczurek recently reviewed Donvé Lee’s biography of South African singer Syd Kitchen, Scars that Shine, for the Cape Times.

Skollie, saint, scholar, hippest of hippies, imperfect musician with a perfect imagination, Syd Kitchen was, like all great artists, born to enrich his art and not himself.

Plagued by drugs, alcohol and depression, too much of an outlaw to be embraced by record companies, he frequently sold his furniture to cover production costs of his albums, seduced fans at concerts and music festivals worldwide with his dazzling ‘Afro-Saxon’ mix of folk, jazz, blues and rock interspersed with marvellously irreverent banter, and finally became the subject of several compelling documentaries, one of which – Fool in a Bubble – premiered in New York in 2010.

Lee’s Scars That Shine is an intimate look at one of South Africa’s most remarkable artists.

Read Szczurek’s review here.
 
 

Book details