FROM APHERTIED TO

FREEDOM: THE EVOLUTION

OF SOUTH AFRICAN
LITERATURE

Anne Francine L. Rodanillo

BA Psychology IIA- AG
““Thereis no easy walk to freedom anywhere, and many of us will have to pass
through the valley of the shadow of death again and again before we reach the
mountaintop of our desires.” – Nelson Mandela

TABLE OF CONTENTS:
OVERVIEW OF SOUTH AFRICAN LITERATURE:
South African literature is a colorful mix of stories shaped by the country's
complex history, rich culture, and many languages. Reflecting its diverse identity, South
African literature includes works in Afrikaans, English, and indigenous languages, each
adding its own unique view and voice.

The country’s literature traces its origins to the late 19th century, with the
emergence of indigenous voices amidst the backdrop of European colonization. Writers
like Olive Schreiner and Sol Plaatje laid the groundwork for future literary movements,
addressing themes of identity, land dispossession, and social injustice.

The 20th century saw the rise of apartheid, a system of institutionalized racial
segregation and discrimination that profoundly impacted South African society. Writers
like Alan Paton, Nadine Gordimer, and Athol Fugard used their craft to critique the
injustices of apartheid, offering powerful portrayals of the human cost of oppression and
resistance.

Afrikaans literature flourished alongside its English counterpart, evolving from a

language of oppression to a vehicle for cultural expression and resistance. The
"Dertigers" (Poets of the '30s) and "Sestigers" (Writers of the '60s) challenged societal
norms and pushed the boundaries of artistic expression, contributing to a rich literary
tradition.

The end of apartheid in the early 1990s marked a new chapter in South African
literature. Writers grappled with themes of reconciliation, identity, and nation-building
in the post-apartheid era. A new generation of voices emerged, exploring the
complexities of race, class, and gender in modern South Africa.

Today, South African literature continues to evolve, characterized by its diversity

and resilience. Writers like Zakes Mda, Sindiwe Magona, and Zukiswa Wanner explore
a wide range of topics, from the legacies of apartheid to the challenges of globalization
and urbanization. Through their stories, poems, and plays, they offer profound insights
into the human experience and contribute to a vibrant literary landscape that reflects the
ongoing journey of transformation and renewal in South Africa.

HISTORICAL LITERARY TIMELINE OF THE COUNTRY

Pre-20th Century:

• Late 19th Century: Indigenous South African literature begins with the
emergence of voices such as Olive Schreiner, whose "The Story of an African
Farm" (1883) becomes a seminal work addressing local and international issues.

Early 20th Century:

• 1910: South Africa becomes an independent nation, yet ethnic divisions persist.
• Early 1900s: English-speaking writers like Olive Schreiner, Sol Plaatje, and
William Plomer gain prominence, addressing themes of identity, land
dispossession, and social injustice.
1920s-1930s:

• Afrikaans literature flourishes with poets like Eugène Marais and novelists like
D.F. Malherbe.
• 1930s: Emergence of the "Dertigers" (Poets of the '30s), including N.P. van Wyk
Louw and Elisabeth Eybers, who revolutionize Afrikaans poetry.

Mid 20th Century:

• 1940s-1960s: English and Afrikaans literature reflect the impacts of urbanization

and apartheid. Writers like Alan Paton, Nadine Gordimer, and Athol Fugard use
their craft to critique the injustices of apartheid.
• 1960s: The "Sestigers" (Writers of the '60s), including André P. Brink and
Breyten Breytenbach, challenge societal norms and push the boundaries of
artistic expression.

Late 20th Century:

• 1970s-1980s: Apartheid remains a central theme in literature. Writers like Elsa

Joubert and John Miles document the struggles of the apartheid era.
• 1980s: Emergence of magic realism and allegory in works like Etienne van
Heerden's "Toorberg" (1986) reflects the changing political landscape.

1990s:

• The end of apartheid marks a new era for South African literature. Writers
grapple with themes of reconciliation, identity, and nation-building in the post-
apartheid era.

21st Century:

• South African literature continues to evolve, with writers like Zakes Mda,
Sindiwe Magona, and Zukiswa Wanner exploring a wide range of topics, from
the legacies of apartheid to the challenges of globalization and urbanization .

NOTABLE LITERARY WORKS

Die Kind by Ingrid Jonker
Author’s Background:

Ingrid Jonker was born on September 19, 1933, on a farm near Douglas, in what is now
the Northern Cape province, South Africa. Her father was the author and politician
Abraham H. Jonker. Ingrid had a difficult childhood because her parents divorced when
she was young. Then, in 1943, her mother died. Ingrid went to Cape Town to live with
her father. She often quarreled with him over politics. Jonker began to write poems when
she was just 6 years old. Some of her poems were published in the magazine Die
Huisgenoot (“Housemate”) when she was still at school. Her first collection of poetry,
Ontvlugting (“Escape”), was published in 1956. Jonker became a member of the
Sestigers (“Sixtyers,” or writers of the 1960s). Thee South African writers were known
for their opposition to the apartheid government. Jonker died on July 19, 1965 and the
collection Kantelson (“Tilting Sun”) was published after her death.
Short Description of the Work:

“Die Kind” or "The Child" by Ingrid Jonker is a powerful poem about the harshness of
apartheid in South Africa. It was written after a child was shot by police during a
protest in Nyanga. The poem starts with "The child is not dead," meaning that even
though the child was killed, their spirit and what they stand for continue to live. The
child becomes a symbol of resistance against violence and injustice. Jonker mourns the
innocent lives lost and criticizes the cruel system, calling for justice and remembrance
of those who suffered under apartheid.

Actual Work:

The child is not dead

The child lifts his fists against his mother
Who shouts Afrika ! shouts the breath
Of freedom and the veld
In the locations of the cordoned heart

The child lifts his fists against his father

in the march of the generations
who shouts Afrika ! shout the breath
of righteousness and blood
in the streets of his embattled pride

The child is not dead not at Langa nor at Nyanga

not at Orlando nor at Sharpeville
nor at the police station at Philippi
where he lies with a bullet through his brain

The child is the dark shadow of the soldiers

on guard with rifles Saracens and batons
the child is present at all assemblies and law-givings
the child peers through the windows of houses and into the hearts of mothers
this child who just wanted to play in the sun at Nyanga is everywhere
the child grown to a man treks through all Africa
the child grown into a giant journeys through the whole world

Without a pass

REFLECTION:

Upon reading the poem, I was deeply touched as it honors the incredible strength and
resilience of people in South Africa during the brutal apartheid era. Personally, I
assume that the image of "the child" represents both the innocent children who
tragically suffered and the enduring spirit of resistance that kept the fight for freedom
alive.

It is evident that it starts with the powerful assertion that "the child is not dead." I feel
like the writer wants to tell that readers that despite all the pain and loss, the spirit of
resistance refuses to die. I can imagine the child, symbolizing the oppressed, raising his
fists against his own country, represented by his mother and father. This imagery makes
me think of the internal and generational struggles that many families must have faced,
with each cry of "Afrika!" echoing their desperate yearning for freedom and justice.
When the poem lists places like Sharpeville where many lives were lost, it insists that
"the child is not dead." This line resonates deeply with me, as it reminds me that even in
the face of unimaginable violence, the spirit of resistance remains unbroken. The child,
though died because of the harsh life he faced, lives on as a powerful symbol of the
ongoing fight against oppression. Also, the poem mentioned about the child, who just
wanted to play in the sun, becomes a symbol of a simple desire for a normal, peaceful
life, a desire that transcends generations and borders.

The final line, "without a pass," is particularly moving. It refers to the pass laws that
restricted the movement of black people, symbolizing the ultimate freedom that the
child seeks—a life free from all forms of oppression and control. This poem makes me
reflect on the sacrifices made by those who fought against apartheid and reminds me
that the journey for true freedom and justice is ongoing, not just in South Africa but
around the world. I can say that it inspires me to honor their memory by standing
against oppression and fighting for a world where everyone can live freely and with
dignity.

Cry the Beloved Country by Alan Paton

Author’s Background:

Alan Paton was born on January 11, 1903. His dad, James, came from Scotland, and his
mom, Eunice, was from England. They weren't highly educated. His dad was strict and
believed in hitting kids as punishment. This made growing up tough for Alan and his
siblings. But Alan's dad also introduced him to reading, especially the Bible. Alan went
to the University of Natal and then taught at a school in a village called Ixopo, where he
met his wife, Dorrie.

Alan wrote a famous book called "Cry, the Beloved Country," which talks about the
struggles in South Africa. He also wrote another book called "Too Late the Phalarope."
Alan cared about making South Africa better, so he joined a political group called the
Liberal Party. But the government didn't like this group because it included both Black
and white people. When Alan returned from a trip to New York, the government took
away his passport because they didn't like what he was doing. Alan Paton spent his life
working to make South Africa a fairer place for everyone.

Short Description of the Work:

"Cry, the Beloved Country" is a powerful novel by Alan Paton, offering a affecting exploration of
South Africa's social and racial landscape in the 1940s, just prior to the imposition of apartheid.
Through the journey of protagonist Stephen Kumalo, a Zulu pastor searching for his missing son in
Johannesburg, the narrative vividly portrays the stark contrasts between urban and rural life and
exposes the injustices faced by the Black population. Against the backdrop of escalating racial
tensions, the novel delves into themes of injustice, reconciliation, and redemption, resonating with
readers worldwide. Paton's evocative prose and compelling portrayal of human suffering and
compassion transcend the novel's historical context, offering a timeless reflection on the complexities
of the human condition. Published amidst the onset of apartheid, "Cry, the Beloved Country" stands as
a testament to Paton's opposition to the apartheid laws, solidifying his position as a prominent voice
among white South Africans advocating for change

SUMMARY OF THE ACTUAL WORK:

In Ndotsheni, South Africa, Stephen Kumalo, a church parson, receives a letter from a
minister in Johannesburg, Theophilus Msimangu, telling him that Stephen’s sister
Gertrude is ill. Stephen decides to take his money, once saved to send his son Absalom
to attend school, and go to Johannesburg to retrieve her. Additionally, he decides to seek
out Absalom, who also left for Johannesburg and has not returned or written.

Stephen journeys to Johannesburg for the first time, and he is overwhelmed by the
experience. He eventually connects with Msimangu and other men of the cloth, where
they assure him they will take him to his sister. The next morning, they seek out Gertrude
and find her. She agrees to come back with Stephen.

Stephen locates his brother John, who has become something of a corrupt bigwig, in order
to find out where his son has gone. His brother gives Stephen information about the
location of Absalom. From there, they trace his path across Johannesburg. Stephen finds
Absalom’s girlfriend, who is pregnant with his child, and learns he’s been missing for
days.

There is a headline in the newspaper: a local white man, Arthur Jarvis, has been shot and
killed in a home invasion. As Stephen continues to look for his son, he is panicked to
learn the police are also searching for Absalom, and are tracing the same steps Stephen
had taken to try to locate him. Soon, Stephen learns the police have arrested Absalom for
the murder of Arthur Jarvis. He goes and visits his son in jail, and is frustrated by the lack
of answers. Father Vincent instructs Stephen to pray and rest.

The next day, Stephen seeks out the young girl who is pregnant with Absalom’s child.
Stephen offers to take her back with him when he leaves Johannesburg. He then visits
Absalom in prison, looking for answers still, but gets none. Father Vincent brings a
lawyer, Mr. Carmichael, to meet with Stephen. Mr. Carmichael agrees to take on the case
pro deo (for God).

Meanwhile, back in Ndotsheni, James Jarvis and his wife receive news of their son’s
murder. The distraught couple flies to Johannesburg. Like Stephen with Absalom, James
struggles with the fact that he never really knew his son, and his son’s life and work was
a mystery to him. When he goes through his son’s office, James is struck by his son’s
activism and beliefs, and his deep sympathies with the native population. Arthur believed
that the native people's way of life had been destroyed by white men, leading to the
current epidemic of violence and fear.

Soon thereafter, Absalom’s trial begins. The two men arrested with Absalom, including
John's son, claim they were not at the scene of the murder. Absalom admits to his
presence, but denies he planned to kill Arthur. During the trial, Stephen comes to the
doorstep of where James is staying quite by accident, seeking out another missing woman
from his hometown. Stephen recognizes James, but James does not know Stephen, and
is concerned when the man appears ill and distressed. Finally, Stephen reveals it was his
son who killed James’s son Arthur. James assures Stephen he feels no anger toward him.
The trial concludes. Absalom is found guilty of murder and is sentenced to death. His
accomplices are found innocent and set free.

The girl and Absalom are married after the trial. Stephen tells Absalom he has to return
home. He, the Jarvis family, Gertrude and her child, and his son’s now-wife all return
home.

Meanwhile, the late Arthur’s son is visiting his grandfather James, and happens upon
Stephen. They speak, and the boy discovers the people are poor and have no milk. Later,
a man comes by from Jarvis’ farm with milk for the children. Then a storm destroys the
small church. Jarvis sends a man to help the people of Stephen’s community build a dam
and improve their way of life. Soon after, Jarvis’ wife dies. Stephen sends a note of
condolence to James. James writes back, thanking him, and tells him they are going to
build a new church.
The day before his son’s execution, Stephen visits James, and then goes into the
mountains. There, he waits and prays until dawn, when he knows his son has been killed.

REFLECTION:

The novel "Cry the Beloved Country" is almost alike with the first poem as it was both
set in South Africa during apartheid, tells about family, loss, and hope for reconciliation
and justice.

Upon reading this, Stephen Kumalo cathes my attention. He is a kind and devoted church
parson, sets off from his small village of Ndotsheni to the big city of Johannesburg. His
journey to find his sister Gertrude and son Absalom shows his deep love and strength. I
felt for Stephen as he faced the overwhelming and harsh environment of Johannesburg,
filled with racial and social injustices. When the time that Stephen finds out his son
Absalom is arrested for killing Arthur Jarvis, it’s heartbreaking. This part of the story hit
me hard, showing how apartheid tears families apart. The strained relationship with his
brother John, who has become corrupt, and the loss of contact with his son highlight the
broader impact of apartheid on personal and community values. James Jarvis's journey is
also powerful. After his son Arthur is killed by Absalom, James discovers Arthur’s
writings about justice and equality. This changes James, making him more aware and
active in helping the native people. Arthur’s beliefs, even after his death, inspire positive
change in Ndotsheni, offering hope for healing. The meeting between Stephen and James
is a strong moment in the book. When Stephen, filled with guilt, tells James that his son
killed James's son, James responds with kindness. This moment shows the possibility of
forgiveness and humanity even in deep pain. The struggles of the people in Ndotsheni
deply affected me. Simple acts, like providing milk for the children, start to build a better
future. It shows that small acts of kindness can lead to significant social changes. The
ending, where Stephen prays in the mountains as his son faces execution, is both tragic
and inspiring for it shows his enduring love and faith despite the pain.

"Cry, the Beloved Country" made me think about social justice, forgiveness, and how
individual actions can make a difference. Paton’s storytelling and empathy for his
characters make this novel a universal story of hope, redemption, and the strength of the
human spirit.

Where The Rainbow Ends by Richard Rive

Author’s Background:

Richard Rive was born on March 1, 1931, in Cape Town, South Africa. Growing up in
District Six, he witnessed the devastation caused by apartheid laws, which led to the
destruction of his community. Rive played various roles throughout his life as a writer,
activist, critic, and educator. His works often highlighted the injustices and hardships
faced by people living in slums, shedding light on issues like isolation and poor living
conditions.

Rive was actively involved in student activism and was a member of the Drumwriters’
Club, where he contributed to the discussion of social issues through his writing. One of
his notable works is "Emergency" (1964), which addressed racial discrimination and
social inequality under apartheid.

His legacy is marked by his unwavering advocacy for equality and justice, both in his
literary works and his activism. Unfortunately, Rive's life came to a tragic end when he
was murdered in his home in 1989. His death is believed to have been politically
motivated, but his impact on South African literature and the fight against apartheid
continues to be remembered and celebrated.

SHORT DESCRIPTION:

The poem "Where the Rainbow Ends'' envisions a place where people of all races can come together
and sing songs, despite their racial differences. It acknowledges the challenges of learning a new and
unfamiliar tune that emphasizes the possibility of learning and making music together, emphasizing
that there are no "black" or "white" tunes, only music. This poem conveys a message of unity and the
breaking down of racial barriers.

ACTUAL WORK:

Where the rainbow ends

There's going to be a place, brother,

Where the world can sing all sorts of songs,

And we're going to sing together, brother,

You and I,

Though you're white, and I'm not.

It's going to be a sad song, brother,

Because we don't know the tune,

And it's a difficult tune to learn.

But we can learn, brother,

You and I.

There's no such tune as a black tune.

There's no such tune as a white tune.

There's only music, brother,

And it's music we're going to sing

Where the rainbow ends.

REFLECTION:

I feel like everyone would agree with me when I say that the poem "Where the Rainbow
Ends" is really toouching and moving. It talks about a future where people of different
races can come together and create harmony. The message feels both hopeful and
necessary even during these times.
The line "Though you're white, and I'm not" recognizes our racial differences but
suggests they don't have to divide or keep us apart. This mirrors real-life struggles for
racial equality and understanding. The poem suggests that even with our different
backgrounds, we can still find a way to sing together, representing the symbol unity and
compassion.

When the poem talks about singing a "sad song" because we "don't know the tune," it
highlights the difficulties of bridging racial divides. It's a powerful metaphor for the hard
work needed to understand and empathize with each other. But it also offers hope, saying
"we can learn, brother, you and I." This means that with effort and willingness, we can
overcome these challenges and create something beautiful together.

The lines "There's no such tune as a black tune. There's no such tune as a white tune.
There's only music, brother," remind us that we all share a common humanity despite
having differences with our races. Music becomes a metaphor for this shared human
experience, showing that our racial differences are less important than what connects us.

Like the earlier works I've mentioned, this poem highlights the potential for unity and the
importance of working together. It inspires me to believe in a world where people from
different races can come together in harmony and respect. The idea of singing together
"where the rainbow ends" is a powerful and uplifting image, encouraging us to strive for
a future of unity and peace.

Burger’s Daughter by Nadine Gordimer

Author’s Background:

Nadine Gordimer, born on November 20, 1923, in Springs, South Africa, was a celebrated novelist and
short-story writer known for her exploration of themes such as apartheid, exile, and alienation. Despite
her privileged background, she developed a strong political opposition to apartheid. Gordimer's literary
career began early, and she published her first story at age 15. Her debut book, "Face to Face" (1949),
marked the beginning of her distinguished writing style, characterized by clarity and control.
Throughout her career, she penned acclaimed works like "Burger’s Daughter" (1979) and "July’s
People" (1981). In 1991, she was awarded the Nobel Prize in Literature for her compelling narratives
and steadfast advocacy for social justice. Gordimer passed away on July 13, 2014, leaving behind a
legacy of literary excellence and activism.

SHORT DESCRIPTION:

"Burger's Daughter" tells the story of Rosa Burger, who wrestles with her father's
legacy as an anti-apartheid activist in 1970s South Africa. The novel follows Rosa's
inner thoughts as she reflects on her relationship with her father and her lover, Conrad,
while also describing the challenges faced by a group of white activists trying to change
the oppressive government.

The book shifts between Rosa's thoughts and feelings and a narrator who tells the story
from an outside perspective. Throughout the novel, real events and people from the
anti-apartheid movement, like Nelson Mandela and the 1976 Soweto uprising, are
mentioned.

Overall, "Burger's Daughter" explores Rosa's personal struggles within the larger
political context of apartheid South Africa, showing the difficult choices people faced
in fighting against injustice.
SUMMARY OF THE ACTUAL WORK:

Burger’s Daughter begins in Johannesburg, South Africa in 1974. Rosa is 26, and she’s
just gotten word that her father, Lionel Burger, has died in prison three years into a life
sentence for treason. She thinks back to when she was fourteen, and her mother Cathy
died in prison. From a young age, she knew that her family—all white—supported the
overthrow of the apartheid government, and her house was frequently open to supporters
of the cause—both white and black. She grew up with Baasie, a young black boy the
same age as Rosa, whom the Burgers informally adopted when his father was arrested
and died in prison. She viewed Baasie as her brother, but they were separated when they
were nine. She was sent to live with her father’s family, while Baasie was sent to friends
and they lost contact. Both her parents were members of the South African Communist
Party, which was outlawed by the government. Their association with this group
eventually led to their arrest and imprisonment. Rosa is a firm supporter of her parents’
beliefs, and she suspects she’ll find the same fate eventually.

The Burger’s house is now empty, and it holds too many memories for Rosa. She decides
to move in with Conrad, a student whom she befriended during her father’s trial. Conrad
is interested in her role in the Burger family. He asks her why she always did what she
was told by her parents. She’s not comfortable with him and decides to move out, getting
her own apartment and working as a physiotherapist. In 1975, she attends a party held by
a friend in Soweto. There, she overhears a black student talking contemptuously about
white anti-apartheid activists. He says that their help is irrelevant, that white people can’t
truly know what black people want, and that only black people can ultimately liberate
themselves. She starts to doubt her mission. Despite being suspected by the government
for involvement in her parents’ crimes, she manages to get a passport and leaves South
Africa to stay in Nice, France with her father’s first wife, Katya. There, she falls in love
with Bernard Chabalier, a Parisian academic. He convinces her to return home with him.

Before returning to Paris with Bernard, Rosa visits London for a few weeks. Although
her passport requires she return to South Africa in under a year, she no longer intends to
honor it, and she’s free to proudly identify as Burger’s daughter. This attracts media
attention, and she becomes a political figure. At one event, she sees Baasie and
approaches him, but he’s uninterested and tells her that’s not his name anymore. He calls
himself by his original name, Zwelinzima Vulindlela, and says he’s become a radical. He
tells Rosa that her father was nothing special, that many black men died in prison the
same way. He rejects her help, and Rosa is devastated. Her plan to go into exile in France
has no more appeal for her, and she returns home to her job in Soweto. In 1976, protests
erupt in Soweto among black schoolchildren, and these quickly turn into riots. White
welfare workers are killed, and the government brutally squashes down the resistance.
Hundreds are killed, and in 1977, many organizations critical of the white government
are banned. Mass political arrests follow, and Rosa is swept up and detained. She’s
charged with subversion and aiding and abetting the student revolt. Rosa reflects that,
like she always knew would, she followed in her parents’ footsteps as a political prisoner.

REFLECTION:

The "Burger’s Daughter" by Nadine Gordimer is difficult to understand for me. I read it
several times to really understand what was the meaning behind it and found that it was
like the earlier literary works about the harsh reality when apartheid still exist. . The novel
offers a window into the complex and painful reality of apartheid South Africa through
the eyes of Rosa Burger. Her journey is both deeply personal and universally significant,
touching on themes of identity, sacrifice, and the struggle for justice.
The story begin with Rosa's experience with loss and reflection. The deaths of her
parents, Lionel and Cathy, in prison for their anti-apartheid activities, shape her
understanding of duty and resistance. From a young age, Rosa is aware that she is living
in a world where the fight against apartheid is not just a political cause but a family
commitment. This background made me think about the burdens and expectations placed
on children of activists, and how these children navigate their own identities within the
legacies of their parents.

The dynamic between Rosa and Baasie, the black boy informally adopted by her family,
explains the racial complexities of the anti-apartheid struggle. Their separation and later
reunion, where Baasie rejects his former name and Rosa’s attempts to reconnect,
highlight the deep divisions and different experiences of black and white activists. This
interaction made me reflect on the limitations of white involvement in black liberation
movements and the necessity of understanding and respecting the autonomy and voices
of those directly oppressed.

Rosa’s move to France and her relationship with Bernard Chabalier represent her struggle
to find her place in a world outside of her parents' shadows. Her return to South Africa,
driven by a renewed sense of purpose, shows her inner conflict between personal desires
and political responsibilities. It speaks to the universal struggle of finding oneself while
remaining true to deeply held beliefs.

The scenes in Soweto during the 1976 protests are particularly powerful. The brutal
crackdown on black schoolchildren and the ensuing violence are depicted with harrowing
clarity. Rosa’s eventual arrest and reflection on her fate as a political prisoner bring her
story full circle, echoing her parents' sacrifices. This part of the novel made me think
about the personal costs of political activism and the courage required to stand against
systemic oppression.

"Burger’s Daughter" also relates with themes from other works about resistance and the
enduring spirit of those fighting against injustice. Like Stephen Kumalo and James Jarvis
in "Cry, the Beloved Country," Rosa's journey is one of personal loss intertwined with a
broader social struggle. The earlier poem about the child's spirit living on in the fight for
freedom also parallels Rosa's story, emphasizing the ongoing nature of resistance.

Overall, "Burger’s Daughter" left me with a deeper appreciation for the complexities of
the anti-apartheid movement and the personal sacrifices made by those who fought
against it. It challenges me to think about my own role in addressing social injustices and
the importance of understanding and supporting the voices of those directly affected.
Rosa’s story is a testament to the enduring power of commitment and the painful yet
necessary journey towards justice and equality.

Homesickness by Elisabeth Eybers

Author’s Background:

Elisabeth Eybers was a famous poet from South Africa and the Netherlands. She wrote lots of poems
for 70 years about many things like women, love, and getting old. Elisabeth published 21 books of her
poems, called anthologies. She was the first woman to publish a book of poetry in Afrikaans, her
native language. In 1943, she won a big award called the Hertzog Prize, becoming the first woman to
get it. Elisabeth mostly wrote in Afrikaans, but she also translated her poems into English. Her last
book of poems, called "Valreep/Stirrup-cup," came out in 2005 and was in both languages.

Elisabeth won many awards for her poetry, including the Hertzog Prize twice. She also got a big
Dutch award called the P.C. Hooft Prize. She moved to the Netherlands in 1961, planning to stay for
just a year, but she ended up living there for the rest of her life. Elisabeth Eybers passed away in
Amsterdam on December 1, 2007.

SHORT DESCRTION:

In Elisabeth Eybers' poem "Homesickness," she talks about missing home a lot. She describes how it
feels to be far away from the place where you grew up and the people you love. Eybers uses words
and pictures to show how much it hurts to be away from familiar things like streets and memories.

The poem also talks about how things change over time, and sometimes when you go back home, it's
not the same as you remember. It's like feeling sad and happy at the same time because you miss
home, but it's also nice to remember the good times.

Overall, "Homesickness" is about the strong feelings we have for our home and how it can be hard to
be away from it. Eybers' poem helps us understand that longing for home is something everyone feels
sometimes, and it's okay to feel sad about it.

ACTUAL WORK:
A house is something that stands up to a slope
by what it confronts on every side.
But take note: say house in this country
and three crammed rooms is what you describe.

Here there is no urge to move up or away,

no gradual ascension, no light
except what wire and glass permit.
The uniformity is sensible and cheap.

Behind a gray and anonymous wall

stairs hoist you from the street
up to the so-called house, and later
let you drop back, right to the same spot.

Never essential, only mechanical, may

the rhythm of your heart and your ribcage
heave a bit to rise above a deadly spirit level
while you knock together a new day.
REFLECTION:
As you will notice, I really intend to put a different theme in the last part to highlight that
works in South Africa is diverse. So upon reading this poem, it made me think deeply
about what a home means and how it feels to live in a place that doesn't truly feel like
one. The poet describes houses in a way that feels cold and impersonal, highlighting the
stark reality of living in cramped, uniform spaces.
The idea that a house in this country means "three crammed rooms" makes me reflect on
how many people live in such confined conditions. It paints a picture of overcrowding
and lack of space, where there's no room to grow or aspire to something better. This lack
of "urge to move up or away" suggests a feeling of being stuck, with no hope of
improvement or escape.
Also, the poem talks about the "gray and anonymous wall" and "mechanical" rhythm of
life in these houses. It feels like a comment on how these living conditions can strip away
individuality and reduce life to just going through the motions. The mention of "wire and
glass" as the only sources of light makes me think of how these homes might feel dark
and closed off, both physically and emotionally.
The part about the stairs "hoisting you from the street" and then "letting you drop back"
really hit me. It seems to symbolize the repetitive and unchanging nature of life in these
houses. No matter how much effort you put into climbing up, you always end up right
back where you started.
Finally, the poem’s closing lines about the heart and ribcage trying to "rise above a deadly
spirit level" evoke a sense of struggle and resilience. Despite the oppressive environment,
there's a sense of trying to push through and find some spark of life and hope each day.
This poem makes me appreciate my family, especially for creating a home that really
feels like it. I realized the importance of having a true home—a place that feels safe,
warm, and uplifting. It also reminds me of the struggles many people face in finding such
a place and the strength it takes to keep going in difficult circumstances.

FAMOUS POETS, PROSE WRITERS, AND PLAYWRIGHTS IN

SOUTH AFRICA
INGRID JONKER
Ingrid Jonker, a renowned South African poet who wrote primarily in Afrikaans, was
born on September 19, 1933, on a farm near Douglas, in what is now the Northern Cape
province, South Africa. Her father, Abraham H. Jonker, was a well-known author and
politician. However, Jonker's early life was marked by hardship and tragedy. Her parents
divorced when she was young, and in 1943, her mother passed away. Following her
mother's death, Jonker moved to Cape Town to live with her father, with whom she often
clashed over political matters.

Despite the challenges she faced, Jonker's talent for poetry emerged at a young age. She
began writing poems at just six years old, and some of her early works were published in
the magazine Die Huisgenoot while she was still in school. In 1956, Jonker published her
first collection of poetry, titled "Ontvlugting" ("Escape"), marking the beginning of her
literary career. Jonker's poetic prowess continued to flourish, and in 1963, she published
another significant collection titled "Rook en Oker" ("Smoke and Ocher"). This
collection garnered widespread acclaim and earned Jonker an important literary prize, as
well as a scholarship from the Anglo American Corporation.

Throughout her career, Jonker was a prominent member of the Sestigers, a group of South
African writers known for their opposition to the apartheid government. Alongside fellow
Sestigers such as Breyten Breytenbach, André P. Brink, Adam Small, and Bartho Smit,
Jonker used her poetry as a form of resistance against the oppressive regime. Tragically,
Jonker's life was cut short when she passed away on July 19, 1965. Despite her untimely
death, Jonker's legacy endured through her literary works. The posthumous collection
"Kantelson" ("Tilting Sun") was published after her passing, further solidifying her
place in South African literature.

Over the years, many of Jonker's poems were set to music, further expanding her
influence beyond the realm of literature. In a poignant moment of recognition, President
Nelson Mandela read Jonker's poem "The Child" at his inauguration ceremony in 1994,
cementing her status as an iconic figure in South African culture. In 2001, a documentary
film was made about Jonker's life, and in 2003, a biography shedding light on her
remarkable journey was published. Ingrid Jonker's contributions to literature and her
courageous stance against injustice continue to inspire generations of South Africans and
readers around the world.

ALAN PATON
Alan Paton, born on January 11, 1903, in Pietermaritzburg, Natal, South Africa, emerged
as a seminal figure in South African literature and politics. He pursued his education at
the University of Natal, which later became part of the University of KwaZulu-Natal, and
initially dedicated himself to teaching from 1925 to 1935. In 1935, Paton left his teaching
career to take on the directorship of the Diepkloof Reformatory for delinquent urban
African boys near Johannesburg. It was during his tenure at Diepkloof that he wrote Cry,
the Beloved Country (1948). The novel, which vividly portrays the suffering of an
elderly black minister grappling with his faith after his son is convicted of murdering a
white man, achieved international acclaim and prompted Paton to focus on writing full-
time. Paton also wrote the screenplay for the 1951 film adaptation of the book.

In addition to his acclaimed novels, including Too Late the Phalarope (1953), which
features his characteristic balanced, rhythmic prose, Paton was deeply involved in South
African politics. In 1953, he co-founded the Liberal Party of South Africa, offering a
nonracial alternative to the apartheid regime, and served as its national president until its
forced dissolution in 1968. His staunch opposition to apartheid led to the confiscation of
his passport from 1960 to 1970, a testament to his commitment to justice. The Diepkloof
period inspired several of his short stories and the notable biography Hofmeyr (1964), a
comprehensive study of the parliamentarian and cabinet minister Jan Hofmeyr.

Paton's literary contributions extended beyond his novels. His autobiography, Towards
the Mountain (1980), covers the first 45 years of his life, with the sequel, Journey
Continued (1988), published posthumously. In Ah, But Your Land Is Beautiful (1981),
Paton revisited South African events through a fictional lens. Even posthumously, his
work continued to captivate readers with publications like The Lost City of the Kalahari
(2005), a chronicle of his 1956 expedition, and The Hero of Currie Road (2008),
which compiled his short fiction. Today, the Alan Paton Centre & Struggle Archives at
the University of KwaZulu-Natal houses his papers and a significant collection of
apartheid-related manuscripts, preserving the legacy of a man who used his pen to fight
for justice and equality in South Africa. Alan Paton passed away on April 12, 1988, near
Durban, Natal, leaving behind an enduring literary and political legacy.
J.M COETZEE
J.M. Coetzee, born on February 9, 1940, in Cape Town, South Africa, is a distinguished
novelist, critic, and translator, known for his profound explorations of the effects of
colonization. He was educated at the University of Cape Town, where he earned his B.A.
in 1960 and M.A. in 1963, before completing his Ph.D. at the University of Texas in
1969. Despite his strong opposition to apartheid, Coetzee returned to South Africa, where
he taught English at the University of Cape Town, translated works from Dutch, and
contributed significantly to literary criticism. His academic and literary pursuits were
further enriched by his visiting professorships at several universities worldwide.

Coetzee's literary career began with Dusklands (1974), a book comprising two novellas
that delve into the theme of colonization. This was followed by In the Heart of the
Country (1977), a stream-of-consciousness narrative of a Boer madwoman, and
Waiting for the Barbarians (1980), which examines the impacts of colonization in an
undefined borderland. His novel Life & Times of Michael K (1983), set in a future South
Africa amidst civil war, won the Booker Prize and cemented his reputation as a masterful
storyteller. Coetzee's reworking of Daniel Defoe's Robinson Crusoe in Foe (1986)
offered a unique perspective on power and otherness, illustrating how language can be as
enslaving as chains. His subsequent works, Age of Iron (1990) and The Master of
Petersburg (1994), continued to explore the interplay between literature and society.

In 1999, Coetzee became the first writer to win the Booker Prize twice with his novel
Disgrace, which provoked considerable debate in South Africa, prompting his move to
Australia, where he was granted citizenship in 2006. Coetzee’s later works often
experimented with narrative structure and philosophical themes. Elizabeth Costello
(2003) presented a series of "lessons" by the eponymous narrator, while Slow Man
(2005) featured the surreal reappearance of Costello in the life of a recent amputee. Diary
of a Bad Year (2007) showcased a split narrative technique, and his trilogy—The
Childhood of Jesus (2013), The Schooldays of Jesus (2016), and The Death of Jesus
(2020)—explored a dystopian world devoid of desire and pleasure. In recognition of his
outstanding contributions to literature, Coetzee was awarded the Nobel Prize for
Literature in 2003, securing his legacy as one of the most influential writers of his time.

ELISABETH EYBERS
Elisabeth Eybers was a renowned South African-Dutch poet whose prolific career
spanned over 70 years. Born in February 1915 in Klerksdorp, South Africa, she grew up
in an Afrikaans-speaking family in Schweizer-Reneke. At 16, she began her studies at the
University of the Witwatersrand, where her literary journey took root.
In 1936, Eybers published her first poetry anthology, Belydenis in die skemering
("Confession at Dusk"), marking a significant milestone as the first woman to publish
an anthology in Afrikaans. Her early success continued with the Hertzog Prize in 1943,
making her the first female recipient of this esteemed literary award. Eybers’s work
explored diverse themes, including the experiences of women, love, aging, and the
intricacies of writing poetry. Her subsequent anthologies, such as Die stil avontuur
("The Silent Adventure") in 1939 and Die vrou en ander verse ("The Woman and
Other Verses") in 1945, further cemented her status in Afrikaans literature.
In addition to her original works, Eybers translated many of her poems into English,
broadening her reach and impact. Some of her notable collections include Tussensang
("Interlude") in 1950, Balans ("Balance") in 1962, and Onderdak ("Shelter") in
1965. Her bilingual anthology, Valreep/Stirrup-cup, published in 2005, stands as a
testament to her enduring literary influence.
Elisabeth Eybers passed away in Amsterdam on December 1, 2007, leaving a remarkable
legacy in both South African and Dutch literature. Her extensive body of work,
comprising 21 volumes of poetry, continues to be celebrated for its depth, sensitivity, and
linguistic prowess.

ADAM SMALL
Adam Small was a distinguished South African writer and philosopher famous for his
poignant explorations of the challenges faced by black and mixed-race people during
apartheid. Born on December 21, 1936, in Wellington, South Africa, Small grew up on a
farm near Robertson, where his father was a teacher. His early life was marked by
experiences of poverty both in rural and urban settings, which profoundly influenced his
literary voice.

Small's literary career began with the publication of his first book, a collection of love
poems, in 1957. He wrote predominantly in Kaaps, a variant of Afrikaans spoken by the
colored community of Cape Town. His work often addressed the harsh realities of
apartheid and the discrimination faced by his people. Among his most celebrated works
is the poetry collection Kitaar my kruis ("My Guitar My Cross"), published in 1961.
This collection is notable for its powerful protest against racial discrimination and has
cemented Small's reputation as a pivotal voice in South African literature.

In addition to his poetry, Small made significant contributions to drama. His 1965 play,
Kanna hy kô hystoe ("Kanna—He Is Coming Home"), is a well-known work that
explores themes of displacement and longing within the context of apartheid. This play,
along with his other works, underscores his commitment to giving voice to the
marginalized and oppressed.

Throughout his career, Small received numerous accolades for his contributions to
literature and society. In 1978, he was elected to the South African Academy for Science
and Art, an honor he declined to accept until after the end of apartheid. In 1993, he was
awarded the South African Order for Meritorious Service in Gold in recognition of his
impact. Later, in 2012, he received the prestigious Hertzog Prize for drama, further
solidifying his legacy as a significant literary figure.

Adam Small passed away on June 25, 2016, in his birthplace of Wellington. His work
continues to resonate, offering profound insights into the human condition and the
enduring struggle for justice and equality in South Africa.

NADINE GORDIMER
Nadine Gordimer (1923–2014) was a renowned South African novelist and short-story
writer who received the Nobel Prize for Literature in 1991. Her work focused on
themes of exile and alienation, often critiquing the apartheid system in South Africa.
Raised in a privileged white middle-class family, Gordimer began publishing stories at
a young age, developing a strong political consciousness against apartheid.

Among her notable works, The Conservationist (1974) stands out, having won the
Booker Prize. Her other significant novels include Burger’s Daughter (1979), July’s
People (1981), and A Sport of Nature (1987), all of which reflect her deep engagement
with South Africa's political landscape. In My Son’s Story (1990), she examined the
complexities of personal and political betrayal, while The House Gun (1998) and The
Pickup (2001) addressed contemporary issues in post-apartheid South Africa. Get a
Life (2005) highlighted environmental concerns through the story of a South African
ecologist dealing with the repercussions of his thyroid treatment, and her final novel,
No Time like the Present (2012), depicted the lives of anti-apartheid veterans
navigating the challenges of modern South Africa.

Gordimer also produced numerous short-story collections, such as A Soldier’s

Embrace (1980), Crimes of Conscience (1991), and Loot, and Other Stories (2003).
Her essays, correspondence, and reflections were compiled in Living in Hope and
History: Notes from Our Century (1999), offering insights into her thoughts on
literature and politics. Her literary achievements were recognized internationally,
culminating in her being awarded the French Legion of Honour in 2007.

Nadine Gordimer passed away on July 13, 2014, in Johannesburg, leaving behind a
legacy of powerful literature that continues to influence and inspire. Her works remain
essential reading for their profound exploration of human rights, justice, and the
enduring struggle against oppression.

RICHARD RIVE
Richard Rive (1931–1989) was a prominent South African writer, literary critic, and
teacher known for his short stories that vividly portrayed the ironies and oppressions of
apartheid and the harsh realities of slum life. Born in Cape Town, Rive grew up in a
challenging environment but managed to secure scholarships for his education,
culminating in his graduation from the University of Cape Town in 1949.
Rive's literary career was marked by a focus on the struggles and injustices faced by
South Africa's marginalized communities. His notable works include the short story
collections African Songs (1963) and Quartet: New Voices from South Africa
(1963), the latter featuring a selection of 16 stories by four different writers, including
Rive himself. He also edited Modern African Prose (1964), an anthology designed for
educational purposes. His novel Emergency (1964) deals with the events surrounding
the Sharpeville massacre and the subsequent state of emergency in 1960.
In addition to his literary achievements, Rive was a dedicated educator, teaching at
Hewat Training College and a large high school in Cape Town, where he also served as
an athletic coach. His academic pursuits took him abroad, earning an M.A. from
Columbia University in 1966 and a D.Phil. from Magdalen College, Oxford, in 1974.
His later works include Selected Writings (1977), a collection of essays, short stories,
and plays, and Writing Black: An Author’s Notebook (1981), which provided insights
into his creative process and the challenges of writing under apartheid.
Rive's stories are celebrated for their imaginative and technical prowess, the skillful use
of leitmotifs, and their realistic dialogue. His work has been extensively anthologized
and translated into more than a dozen languages, cementing his legacy as one of South
Africa's most important short-story writers. Rive's life and career were tragically cut
short when he was murdered in his Cape Town home in 1989, but his literary
contributions continue to resonate globally.

SYNTHESIS:
South African literature is a collection of literary works that reflect the country's complex
history, diverse culture, and struggles against oppression. From the early works
addressing colonialism and land dispossession to the touching narratives of apartheid-era
resistance and post-apartheid reflections, these literary works offer profound insights into
the human experience and the quest for justice and equality.
Trough exploring different kinds of literatures, I've discovered the depth of resilience and
the enduring spirit of resistance among its people. The literature also sheds light on the
personal sacrifices made by individuals and families in the fight against injustice and
prejudice. Additionally, I've gained a deeper understanding of the diverse voices and
perspectives that contribute to South Africa's literary landscape, from Afrikaans to
English and indigenous languages.
Also, South African literature has played a crucial role in shaping the country's society
by confronting its past, challenging social norms, and advocating for change. Works like
"Cry, the Beloved Country," "Burger’s Daughter," and the poetry of Ingrid Jonker have
sparked conversations, inspired activism, and contributed to the collective memory of the
nation. These literary works have helped foster empathy, understanding, and a sense of
shared identity among South Africans.
Finally, reading South African literature has been a wonderful experience that has
deepened my appreciation for the resilience of the human spirit in the face of adversity.
It has also challenged me to reflect on my own role in addressing social injustices and
standing in solidarity with marginalized communities. These works serve as reminders
of the power of storytelling to inspire change, cultivate empathy, and build bridges across
divides. Ultimately, South African literature offers timeless lessons about the importance
of justice, compassion, and the pursuit of a more equitable society.