What I've been reading in June and July

When I’m reading, I like to be able to dip into a whole variety of things and mediums.  I read my kindle books on the Gautrain because they are so light.  I read my heavier (literally) volumes on the couch or in bed and then I am usually reading and then re-reading for my thesis work at my desk (or lying on the couch in the winter sun if I am feeling luxurious).   So the following is deliciously diverse...

Alberto Maguel’s A Reader on Reading (2010): I have been reading this volume (it is a kindle book), essay by essay for months after I bought this for my mother for Mothers’Day.  This man is erudite and well-travelled (and old) so he actually knew writers like Jorges Luis Borges and can write about their lives and work from a personal perspective.  He has fascinating things to say about the role of writers and their literature in society.  After feeling quite stifled and nihilistic about literary study sometimes, this writing renews my vigour and belief in the power, importance and ineffable pleasures of sustained engagement with literary texts.

Jonathan Franzen’s novel, The Corrections (2001) manages to convey some of that literary studies claustrophobia by beginning the novel from the perspective of Chip, a disgraced literary studies lecturer.  Before my non-literary readers run away screaming, let me assure you that the perspective continually shifts between Chip, his brother Gary, his mother Enid, his sister Denise and his father Alfred, who is suffering from Parkinson’s.  Alfred’s passages are perhaps the most difficult to read but also the most surreal; so much so that I had a nightmare last night stemming from one of his hallucinations.  Other parts of this novel are bitterly funny, sad or bitingly satirical.  This is definitely worth a read.

And (to quote Monty Python) Now For Something Completely Different, Charles Dickens’s A Tale of Two Cities (1859).  Dickens is a tricky author.  He is anti-Semitic, drippingly sentimental and his characters are all clearly polarised: his good characters are angelic and his villains are very very bad.  Yet his descriptions are sheer comic genius, his characterisation unforgettable and his plots twist and turn and keep you quite enthralled.  Dickens, for me, is a good example of why you shouldn’t censor writers because they had prejudices nor canonise their every word and opinion. 

For my final magic trick, (or final thesis chapter, which sometimes feels as if it requires similar levels of dexterity) I have been re-reading Ivan Vladislavić’s Portrait with Keys (2006).  I am writing my thesis on three of his texts: The Restless Supermarket, The Exploded View and Portrait with Keys.  As I write on each one, I tell myself this must be my favourite.  Portrait with Keys is not a novel, but is rather a semi-autobiographical love letter to Johannesburg.  It is told unflinchingly in small and not-so-small incidences of kindness and violence, revealing forgotten corners and revelling in everyday detail.  I love this book because it seeps into your subconscious so that the next time you are walking or driving around what he has said will come back to you and you will have fresh realisations about ordinary things or ways of thinking you never really noticed before.

I recently watched Woody Allen’s Midnight in Paris which is, among other things, about engaging with a city.  I loved a line by Owen Wilson’s character,

“You know, I sometimes think, how is anyone ever gonna come up with a book, or a painting, or a symphony, or a sculpture that can compete with a great city. You can't. Because you look around and every street, every boulevard, is its own special art form”.

Of course, Allen is writing about Paris or New York, and part of the beauty of those cities is that when we look at them, we are seeing them through the eyes of artists.  How then should we see a city that not even many tourist brochures immortalise?  I leave you with some words of Vladislavić’s to ponder.  Appropriately, he is comparing his own process of writing about cities to that of Dickens, one of the authors who immortalised London:

“Dickens was blessed to live in a city that offered the walker ‘miles upon miles of streets’ in which to be lonely and ‘warm company’ at every turn once his loneliness had been satisfied.  Moreover, to live in a city that collaborated enthusiastically in its own invention.  I live in a city that resists imagination.  Or have I misunderstood it?  Is the problem that I live in a fiction that unravels even as I grasp it?”*

*Vladislavić, Ivan.  Portrait with Keys: Joburg&what-what. Cape Town: Umuzi, 2006 (54)

The freedom of a public library

My current haul*

Joining the public library was, for me, a matter of financial constraints.  I really wanted to read the kind of books I cannot afford and cannot find in my university’s libraries.  So I trundled off with Zam that rainy Friday, and as I have detailed, it has been a real adventure (or a peri-urban adventure at any rate). 

But aside from the new experiences it has brought me before I even walked through its doors, the library itself has been a revelation.  For all the fun it is to browse in the university library, a book shop or on my kindle, I have to prioritise and decide to take only what is immediately relevant to what I study and do.  Every book I buy (or take out) must be strictly accounted for because every one is an investment of sorts that must give me finite returns in knowledge.  In addition, each of them has their drawbacks.

A book shop can only stock what it knows it is most likely to sell.  This means that certain popular series, new books and a limited selection of classics and older books that continue to sell well can be stocked.  A University library can only buy what it thinks will be relevant to serious study.  Sometimes that includes some popular fiction or science, but not often.  Searching for books on a kindle, like searching for information on the internet, is one of the most narrow and restrictive book-selecting devices.  When you search for a book, it will bring up that book, and a few recommendations that relate to that author, series or topic.  You cannot be distracted by something else from a different field of interest altogether as you can when wandering in a book store or library.  Anyway, I like to think I do not have generic buying habits, even within a genre, which is what you must ape if you browse books by category in Amazon. 

A public library, by contrast, is the accumulation of decades of government spending and the tastes of individual librarians that have been bought to cater to the many members of the public.  I only have the books for two weeks and I can return what I don’t like, savour what I do and return them.  Being able to dabble and browse without financial or category constraints is a really liberating sensation.  I feel like I have burnt my intellectual bra.

Knowing that I am one in a long line of people who will take it out a book is another benefit of reading a library book.  I have recently read editions of books that were brought out very soon after the original publication date.  The older is Margaret Atwood’s The Handmaid’s Tale, set in a post-feminist USA where everyone lives according to someone’s twisted version of Genesis.  This fascinating and disturbing tale was published in 1985.  When I paged to the back and looked at all the old date stamps, I could not help wondering what the citizens of Pretoria made of this futuristic, puritanical state that enforces serious censorship rules when they read it during the dying, violent years of apartheid.

The other book contained Ursula Le Guin’s Earthsea trilogy.  This is what is now called a “young adult” fantasy, but it is written in such wise, philosophical prose that I don’t know if I would have been able to appreciate it fully had I read it as a teenager.  I loved it even more for that reason: she assumes that her teenage readership wants to be challenged.  The edition I had read had been rebound in hardcover from so many readings, and it had a slightly unsettling, brightly coloured picture of the wizard hero, Sparrowhawk on the cover.  The pages were yellowy-orange in colour and the texture was slightly grainy from age.  Knowing that many teenagers and older people like myself have read this book gives me more faith in the human race.  I have for years been an avid fan of Philip Pullman’s Dark Materials trilogy as it is also intelligent, wildly imaginative and thought-provoking, and I am also a recent fan of Neil Gaiman.  This trilogy is still streets ahead.  These books are also older, however, and while good books stores will still stock Neil Gaiman and the Dark Materials trilogy, they seldom stock Ursula Le Guin.  It is up to the libraries to continue the tradition.

So go forth and have an adventure at (or near) your nearest public library.  They lurk everywhere there...

*From left to right: Steven Pinker's The Stuff of Thought, Gaston LeRoux's Phantom of the Opera, Eric Schlosser's Fast Food Nation, Michael Ondaatjie's Handwriting and Jonathan Franzen's The Corrections.

the second-hand book

At Wits University, wedged between a parking lot and the wide green lawns is a great library that houses row upon row of Africana (i.e. books by Africans of various descriptions). It is called the William Cullen Library and was the first library to be built on campus. There are high ceilings and book-cases set against the walls that you have to climb up stairs to get to. It reminds me a little of the beautiful Port Elizabeth library with the statue of Queen Victoria that still holds her position in front of it (I can't say it welcomes you. Queen Victoria is very severe).

Back to William Cullen: there is a brightly-coloured painting spanning almost the whole of one wall that depicts a kind of magic-realist South Africa. Colonisers arrive in strange masks, and animals people the landscape, larger than the ships sailing in from the horizon. The trees are abundant with fruit, and the San and Khoi mingle with the settlers, who seem very settled already in this surreal landscape. There is night on one side of the painting and day on the other with the ocean surrounding the land on both sides. I hope many people studying at the long tables have happened to glance up and notice this singular artwork.

One of my (other) favourite things about this library is the bathroom. The Wartenweiler Library (which is now the main library) has chip-board cubicles and basins set so close to the cubicle doors that it's really difficult to move in there. It is also windowless and has that distinctively unpleasant closed-in public bathroom smell.

When I step into William Cullen, it is as though I have stepped into another world because it is so old. The fittings are all made of thick porcelain and are cleanly white and solid-looking. The doors are made of varnished wood and the windows let dappled sunlight into the airy room. There is even a a long, dark-wood table set into the wall with chairs in front of it. I feel like I should adjust my hair net and hat and perhaps touch up on my lipstick while having a good gossip with similarly attired friends, rather than adjust my backpack and twenty-first century jeans.

What really entrances me is that they have a small selection of books for sale: all R5. I am a compulsive book buyer, and I had sorted through them for weeks (finding Dame Edna Everage's Bedside Book amusing but not necessary) before I came across one that caught my eye and generated a tumult of conflicting thoughts. The first is called "Readings in South African English Prose", compiled by A.C. Partridge of the University of Pretoria and it was published by Van Schaik in 1941. It is a first-edition and looks impeccable, but more importantly, it was a present: "To dear Dad Love from Marj, Xmas 1944".

Second-hand books with inscriptions, (particularly old-fashioned, spidery ones in that good-quality black ink) make the cockles of my heart warm (I've been reading Dickens recently, can you tell?). The pages are thick and yellowing, and the preface is cringingly full of terms like "native mind" and phrases like "For whilst it is no doubt true that all good literature is universal". Nevertheless, it was someone believing in the literature of the country enough to compile a book about it. All the writers are white (Sol Plaaitjie was clearly not English enough)but there are a host of names I had never heard before along with other more familiar ones. Olive Schreiner, C. Louis Leipoldt, Lady Anne Barnard, Thomas Pringle and Kingsley Fairbridge among others are included.

The inscription was what decided me to buy it: "To South Africa, and all its people of both races, this book is dedicated, in the hope that enlightened co-operation may soon be at hand".

An academic from Pretoria (never a city with a reputation for housing liberals) produced a book - in 1941 - with an inscription like that. It made me really excited and yet at the same time made me a feel desperately sad for wasted potential. Just seven years later, all those hopes were dashed for almost fifty years with the introduction of institutionalised apartheid. I wondered if A.C. Partridge had lived to see the end of apartheid, and what he was doing so that his hopes about "enlightened co-operation" may be realised.

Then, I thought a little more and read a little more into the book. He says "both races". Back then, the all-inclusive term "black" had not come into usage to describe everyone who was not white. So, there are then several races in South Africa. Why does he say "both"? I then realised (in this collection of "South African English" prose that proves the English are as South African as their Boer counterparts) that there are two white races. Is he talking about less enmity among whites in a new white super-era? I mean there is a section in this book titled "Native Sketches". But the ANC was originally titled "South African Native National Congress", so in the past, even black people called themselves "natives". In what year did this term become questionable? Have I purchased a questionable book?

And then I relaxed and gave myself a mental slap on the wrist. I was reminded of my trip to the Pitt Rivers Museum in Oxford when I confronted the curator with the fact that the labels on the anthropological artefacts were completely outdated, "Native Rhodesian Drum" for example. She smiled patiently and explained to me that the labels (made by the curators or explorers at the time the object was found) are historical and anthropological objects in themselves. They reflect a part of history that should not be forgotten.

Being politically correct can lead to missed opportunities for knowledge and a more complete understanding of the subtlties of the past. I think I will learn as much by reading the prejudices and baby steps towards understanding of the compiler as I will about the decades of South African English engagement that have been compiled. Perhaps I will even breathe in something of the spirit of the man who received it as a present in 1944. And I could never get such an experience from between the matt-finish covers of a new book from the morally fortified shelves of a new bookshop.

Nor could I buy it for R5. Reading (and buying) second-hand books really is an affordable education.

on book lists

One of the things that always fascinates me is what books make it onto "those" lists: those lists that send you scurrying away feeling mortified that you never read One Hundred Years of Solitude or Rohinton Mistry's A Fine Balance. I suppose I don't have a problem with most of what is on these lists: the books I have read were brilliant (except I couldn't finish The Lord of the Rings or Catch 22. Yes, that does make me a cretin). And books like Dan Brown's The Da Vinci Code sneak into one or two of them. Sigh. The problem - for me - is what they leave off those lists.

A little while ago I got such a list on facebook. Apart from the annoying way they made "(36)The Lion, The Witch and the Wardrobe" and "(33)The Chronicles of Narnia" and "(14) Complete Works of Shakespeare" and then "(98) Hamlet" like they were mutually exclusive; it is the assumption that those books are the measure of a person's intelligence or erudition.

In some way, they (yes, "they" and "them": like the hegemonic publicity team of Exclusive Books who publish a must-have list at the end of the year that you have to pay to be on) are trying to tell me what to read. If I just followed those must-read lists, I would miss out on SO much. So I am going to write about some of the books that aren't on this list that are really worth reading (in my opinion. Not telling you what to read, I promise. Except for Country of my Skull. Hypocrisy can be worth it to say you have to read this book).

1.) Beloved - Toni Morrison

I picked up this novel one afternoon at about 3pm as I had bought it second hand at a flea-market I went to with my friend Marijke. I put the book down again at 11pm after having devoured every word. I was shaking with the powerful emotion and raw beauty that this novel of slave-era USA communicates. It is phenomenal because it describes the events in a way that left me deeply moved (I could say it rocked my foundations) and brought me to an awareness of the legacy of suffering that forms part of America's present.

2.) Poetry. by almost anyone. 'cause there is nothing on the list.

I am more of a prose girl myself. One of my biggest problems studying Wordsworth's The Prelude was that I kept falling asleep over it. I would - however - never cut out the poetry I have studied. Byron's Don Juan is a comic and satirical work of genius. Admittedly you have to know the background before you can appreciate it, but it is bawdy, sophisticated and beautifully written all at once. I am also sure Dr. Margot Beard had no small part in making it so wonderful for anyone who studied it.

Then there is the madness of William Blake; the quiet sublimity of William Carlos Williams and Sydney Clouts and the infinite sweetness of e.e cummings. Tennyson's "Maud" was a recent find for me: melancholic and densely evocative. Then there are those sticky Shakespearean sonnets and the holy trinity of metaphysical poets: John Donne, George Herbert and Andrew Marvell.

I'm sure you get the point: how can one leave out the poets???

3.) Country of My Skull - Antjie Krog

As I read it (for the second time) this past week, I couldn't help thinking that every white person should read this book, and possibly every other person in South Africa too. Krog weaves fictions about her own life and research and philosophical musings (at times agonised questionings) around the facts and stories of the Truth and Reconciliation Commission in order for the telling of this story to be true, and the result is that each piece of narrative is like a beautifully wrapped parcel. I learnt so much about our country. Like the wages of black workers didn't change at all between 1911 and 1970. In fact, wages for black miners were less in 1972 than they were in 1911. The terms "minimum wage" takes on a whole new meaning after that. And when some black, female farm workers came to register to vote for the first time in 1994, they had no fingerprints because their hands had been worked smooth. It also shed some light on the sad state of the Eastern Cape:
1.) Queenstown had the highest number of necklace killings.

2.) Mdantsane is the second-biggest township in the country (bigger than the city it feeds, East London) and yet it has no library (that wasn't from the book. That was a scary fact from my old opera coach, Mkhululi, resident of Mdantsane).

3.) All the crazily-violent ex-army men (black and white) who came back to the country from service in Africa were hidden away in the Eastern Cape to work there. As a result, some of the most senseless torture and killing occurred in this area.

The book is a heady mix of violence and depression; anger and futility; hopefulness for the future and a complex exploration of everything surrounding guilt, complicity, reconciliation, compassion and fear. Most of all, what is a common thread is the importance in the healing proess of people being given a voice to tell their stories. I will leave you with the closing words of Lucas Baba Sikwepere from the Eastern Cape. He was shot many times for approaching the white van of a policeman and asking what was going on. He still has bullets lodged in his neck and face: some of them visible. He was a big man before he was shot, but now he has numerous ailments including excruciating headaches and has "lost all [his] body". He does not really know what he looks like now though, because he is blind.

"I feel what - what has brought my eyesight back is to come back here and tell the story. But I feel what has been making me sick all the time is the fact that I couldn't tell my story. But now I - it feels like I got my sight back by coming here and telling you the story".

a christmas carol

As the Christmas decorations go up in Checkers (in September) and carols start to blare over the loudspeakers in malls countrywide (coming soon to an elevator near you), those things that people always say start to be said, and it doesn't have anything to do with being jolly. People feel harassed and put upon by them demm Christians and their holiday-that-isn't-even-their-holiday-it-was-a-pagan-one-the-Christians-stole-like-a-lot-of-other-things. Plus the glossy advertisements clog up the windows, newspapers and television, complete with cutesy children and holly-bedecked, ahem, "maidens". Public Christmas is a bit of a circus, particularly on the South Coast when thousands of binnelanders descend on our little town to be rude to shop assistants, get drunk and disfuguringly sunburnt on our beaches and - it must be said - give the South Coast a lovely big injection of much-needed cash.

That is what the Christmas season is at the end of it all: a huge money-making racket. I'm sure it was back in the pagan days too and the Church was only too happy to jump on that money spinner. (Incidentally, I am reading Bill Bryson's "At Home" (tagline, "The Perfect Christmas Gift") and he says that the Christmas card was invented by someone back in the day to encourage people to use the penny post. Yes, more money-spinners...) Loathing Christmas and all its consumerist trappings, many people on facebook - that omnipotent meter of public opinion - put "Happy Consumerism" or "Happy Consumption" as their statuses instead of Happy Christmas. They also drive themselves crazy complaining about Christmas Carols that come around every year.


Well I've said it and it's true and isn't Christmas a terrible thing enforced on everybody etc. But the realer truth (isn't there always a real-er truth?) is that I love Christmas. For a start, I really appreciate people close to me indulging in shameless consumerism on my behalf: to speak plainly, someone else buys me a book/books. That is never a bad thing. Secondly (and more importantly) I get to wander around and search for gifts that my friends and family will love or (if I'm feeling very creative) I will make something. I put together CDs of music that I have compiled after many hours of planning as to which people would enjoy which songs and in which order. I also cut up old magazines and make collages on bookmarks with a well-chosen quote or (my most recent project) I draw something. Then I get to search for ribbon and paper and wrap it. That part may not sound very exciting but there are such pretty ways of doing these things they are little ecstasies.

Thirdly, I love singing carols. Every year my old singing teacher Mrs. Spiller (a marvelous lady of eighty years old who has taught (and is still teaching) piano and singing to generations of South Coast musicians and music teachers including myself and up and coming theatre star Roland Perold) gets a group of us together (the same group every year) to sing. They are carols nobody recognises (except for a difficult three-part rendition of "We Wish You a Merry Christmas" that we always mess up) and contain harmony parts that at worst consist of the words "Jingle-Jingle" and "giddy-up" and at best are quite haunting and beautiful. We sing at old age homes, churches and Christmas markets and sometimes there are eight of us and sometimes there are close to twenty. Nevertheless, all of us meet together after not having seen each other all year because we all love Mrs. Spiller and we love making music.

Perhaps that is still what some people hate about Christmas: being forced together with people you don't really know (and may not even like) every year just because it is Christmas. That's not something that has ever bothered me. I like seeing the people come back every year: hearing what business they are up to, what singing exams they have done and hearing how their voices have developed. I may not see or chat to them for the rest of the year, but seeing them always brings a smile to my face because of the shared memories and the shared music. I really am interested in how they are doing and what they are doing.

So I like that about Christmas. Personally, I love commemorating the birth of Jesus Christ (a man who preached absolute love and goodness) but I don't think that is what makes it special for the cosmopolitan community at large. It is the festive atmosphere and the bringing together of disparate groups, like the motley assemblage of singers or the various people who come back to staff Ramsgate Stationers every year.

A Hindu man came into Ramsgate Stationers the other day looking for big Christmas decorations to put outside his house. He said he didn't celebrate Christmas in the traditional sense of the word, but he wanted to brighten up his neighbourhood and enjoy the holiday with neighbours and friends. I think I know what he means. Whether you believe in the religious aspect or not, Christmas is the most concentrated block of public holidays and long leaves and that results - where I live - in people returning to work together once again with other people outside their usual paths and routines. It is for that reason I will (joyfully) sing my Christmas carols and feel far from an impending sense of dread at the approach of Christmas.