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Archive for the ‘New Releases’ Category

Tracy Going’s searing, heartbreaking memoir to be published soon

“Searing, heartbreaking, triumphant: Brutal Legacy is for anyone who’s been punched in the face by someone they loved and then stood up again. It’s for every mother who has run, every sister who has picked up the pieces and every friend who hasn’t fled. It’s for every brother who’s cried and for the children who have watched. Every South African should read it.” – Sisonke Msimang, author of Always Another Country

When South Africa’s golden girl of broadcasting, Tracy Going’s battered face was splashed across the media back in the late 1990s, the nation was shocked.

South Africans had become accustomed to seeing Going, glamorous and groomed on television or hearing her resonant voice on Radio Metro and Kaya FM. Sensational headlines of a whirlwind love relationship turned horrendously violent threw the “perfect” life of the household star into disarray. What had started off as a fairy-tale romance with a man who appeared to be everything that Going was looking for – charming, handsome and successful – had quickly descended into a violent, abusive relationship.

“As I stood before him all I could see were the lies, the disappearing for days without warning, the screaming, the threats, the terror, the hostage-holding, the keeping me up all night, the dragging me through the house by my hair, the choking, the doors locked around me, the phones disconnected, the isolation, the fear and the uncertainty.”

The rosy love cloud burst just five months after meeting her “Prince Charming” when she staggered into the local police station, bruised and battered. A short relationship became a two-and-a-half-year legal ordeal played out in the public eye. In mesmerising detail, Going takes us through the harrowing court process – a system seeped in injustice – her decline into depression, the immediate collapse of her career due to the highly public nature of her assault and the decades-long journey to undo the psychological damages in the search for safety and the reclaiming of self.

The roots of violence form the backdrop of the book, tracing Going’s childhood on a plot in Brits, laced with the unpredictable violence of an alcoholic father who regularly terrorised the family with his fists of rage.

“I was ashamed of my father, the drunk. If he wasn’t throwing back the liquid in the lounge then he’d be finding comfort and consort in his cans at the golf club. With that came the uncertainty as I lay in my bed and waited for him to return. I would lie there holding my curtain tight in my small hand. I would pull the fabric down, almost straight, forming a strained sliver and I would peer into the blackness, unblinking. It seemed I was always watching and waiting. Sometimes I searched for satellites between the twinkles of light, but mostly the fear in my tummy distracted me.”

Brilliantly penned, this highly skilled debut memoir, is ultimately uplifting in the realisation that healing is a lengthy and often arduous process and that self-forgiveness and acceptance is essential in order to fully embrace life.

Tracy Going is an award-winning former TV and radio news anchor. She is best remembered for the years spent waking South Africans on SABC 2’s Morning Live and as a prime-time news anchor for Radio Metro and Kaya FM. She has presented a variety of TV shows across the genres of news, business, women, lifestyle and technology. She has also written two successful children’s story-cookbooks, African Animals: Rhymes & Recipes and Awesome Animals: Rhymes & Recipes, which received the prestigious Best in South Africa Gourmand Cookbook Award, as well as the second position at the world Gourmand Cookbook Awards at The Paris Cookbook Fair in 2013. Over the last four years she has lectured at AFDA film school in Cape Town but left to focus on writing her memoir Brutal Legacy.

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Rehana Rossouw’s new novel illuminates the tensions inherent in the second year of Nelson Mandela’s presidency

New TimesFrom the acclaimed and award-winning author of What Will People Say? Rehana Rossouw takes us into a world seemingly filled with promise yet bedevilled by shadows from the past. In this astonishing tour de force Rossouw illuminates the tensions inherent in these new times.

Ali Adams is a political reporter in Parliament. As Nelson Mandela begins his second year as president, she discovers that his party is veering off the path to freedom and drafting a new economic policy that makes no provision for the poor. She follows the scent of corruption wafting into the new democracy’s politics and uncovers a major scandal. She compiles stories that should be heard when the Truth Commission gets underway, reliving the recent brutal past. Her friend Lizo works in the Presidency, controls access to Madiba’s ear. Another friend, Munier, is beating at the gates of Parliament, demanding attention for the plague stalking the land.

Aaliyah Adams lives with her devout Muslim family in Bo-Kaap. Her mother is buried in religion after losing her husband. Her best friend is getting married, piling up the pressure to get settled and pregnant. There is little tolerance for alternative lifestyles in the close-knit community. The Rugby World Cup starts and tourists pour up the slopes above the city, discovering a hidden gem their dollars can afford.

Ali/Aaliya is trapped with her family and friends in a tangle of razor-wire politics and culture, can she break free?

Told with Rehana’s trademark verve and exquisite attention to language you will weep with Aaliya, triumph with Ali, and fall in love with the assemblage that makes up this ravishing new novel.

Rehana Rossouw was born and rooted in Cape Town, but is currently in self-imposed exile in Johannesburg. She has been a journalist for three decades and has also taught journalism and creative writing. She has a Master’s in Creative Writing from Wits University.

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Killing Karoline follows the journey of the baby girl categorised as ‘white’ under SA’s race classification and her struggle with identity, race, and rejection

Killing Karoline deals with important topical issues relating to adoption, identity, race, mental health and addiction.

Born Karoline King in 1980 in Johannesburg South Africa, Sara-Jayne (as she will later be called by her adoptive parents) is the result of an affair, illegal under apartheid’s Immorality
Act, between a white British woman and a black South African man. Her story reveals the shocking lie created to cover up the forbidden relationship, and the hurried overseas adoption of the illegitimate baby, born during one of history’s most inhumane and destructive regimes.

Killing Karoline follows the journey of the baby girl (categorised as ‘white’ under South Africa’s race classification system) who is raised in a leafy, middle-class corner of the South of England by a white couple. It takes the reader through her formative years, a difficult adolescence and into adulthood, as Sara-Jayne (Karoline) seeks to discover who she is and where she came from.

Plagued by questions surrounding her own identity and unable to ‘fit in’ Sara-Jayne begins to turn on herself. She eventually returns to South Africa, after 26 years, to face her demons. There she is forced to face issues of identity, race, rejection and belonging beyond that which she could ever have imagined. She must also face her birth family, who in turn must confront what happens when the baby you kill off at a mere six weeks old returns from the dead.

Sara-Jayne King is a mixed-race South African/British journalist and radio presenter whose career spans over a decade and has taken her across the globe in search of remarkable stories and fascinating characters. While studying for an LLB degree in the UK, Sara-Jayne realised her passion lay elsewhere and, after graduating, she went on to complete a Master’s in Journalism in 2004. Her career began as a junior journalist in local radio in London and since then has included roles in the Middle East and Africa, most recently as a senior editor for news channel eNCA and presenter for Primedia’s talk radio station Cape Talk.

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The launch of Reflecting Rogue was trending on Twitter last night. And with reason.

What do you get when you combine a venue running out wine glasses, the title of your collection of anti-racist, feminist essays trending on Twitter, and an Alan Paton Award-winning author in conversation with one of South Africa’s foremost actresses?

The launch of wunderfrau Pumla Dineo Gqola’s latest book, Reflecting Rogue, that’s what.

Last night Pumla and Rosie Motene discussed Pumla’s hotly-anticipated collection of autobiographical essays at Love Books, Johannesburg.

The following picture hardly gives the turn-out at this thought-provoking, challenging, and raucous event justice:

Rosie and Pumla covered pertinent issue regarding feminism and the policing of women’s bodies, with Pumla asserting that the way society attempts to protect girls ties in with controlling them. She dismisses societal ideals surrounding femininity and imposed gender roles, as well as the notion that women – especially girls – should be ashamed of their genitals, including regarding their vaginas as “filthy”.

Here Pumla shared an incident of her school days where a girl in a locker room was changing, and after having removed her panty for “literally 15 seconds”, refused to wear the same pair again, as the mere thought of her vagina making contact with the material, was too disgusting too bear.

Rosie’s next question was about the autobiographical nature of Feminist Rogue, inquiring whether she would describe it as a memoir. Pumla replied in the negative, also adding that she’s not interested in writing a memoir and that her next idea for a book will be a feminist reflection on Winnie Mandela.

The contentious topic of lobola was raised by Rosie, asking Pumla whether it’s possible to incorporate feminism with lobola; an ideology which is the antithesis of this tradition.

After some deliberation Pumla said “I don’t know” and described lobola as a mess – “and not a good mess.

“I have no idea how to make it less messy,” she candidly answered.

She disclosed that agreeing to a union involving lobola was the worst experience of her life.

Pumla spoke out against the ANC’s (mis)treatment of South African women, citing that “nothing has changed” since Jacob Zuma was acquitted in his rape case in 2005, when he pleaded not guilty to raping Fezekile Ntsukela ‘Khwezi’ Kuzwayo – a case which sparked public outrage, especially after Khwezi’s passing in October 2016, without her ever receiving justice.

She also stated that we have to “stop being so bloody nice” and stop pretending that the ANC Women’s League is doing feminist work. This was met by applause and claps from the riveted crowd.

Pumla described Deputy Minister of Higher Education Mduduzi Manana’s recent assault of Mandisa Duma as a “mind-fuck”, expressing that she cannot fathom how someone who publicly speaks out against sexual assault on campuses nationwide can commit such a deplorable act.

It’s hardly surprising that #ReflectingRogue was trending after only an hour into Pumla and Rosie’s discussion, which was met with glee by the Twitterati.

Yaaaasss indeed, Eusebius.

Reflecting Rogue

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2016 Dinaane Debut Fiction Award winner, Selling LipService, a remarkable, daring, exhilarating read

Selling LipService, Tammy Baikie’s remarkable debut novel, was the winner of the Dinaane Debut Fiction Award in 2016.

Daring in scope and exhibiting exhilarating virtuosity, it takes South African fiction into a space last seen with Lauren Beukes’s Zoo City.

Dr Pamela Nichols, a lecturer at the Wits writing centre, commented on behalf of the judging panel: ‘This is firstly technically very clever in its articulation and development of languages, which are already familiar and nearly formed in our daily lives. The invention and play with ways of talking and thinking reminded me of Clockwork Orange. Secondly, it makes a convincing argument for the need to reassert the literary and the always partially unknown human, before we are swallowed up by ad men. It presents a Huxley-like future conveyed with a Burgess-like linguistic skill: brilliant, and guaranteed to appeal to anyone who loves reading.’

About Selling LipService:

“I was one of them – just as stroke-stricken, equally lost for words. We were as kinbled as our brain MRIs pinned up, on the wall of the ward. Each one with an almost identical inkblot lesion – a black mark against our names and the naming of all things.”
Since coming of haemorrh-age, Frith must wear a LipService patch to write or speak. The words the patch produces are not her own. Scripted by copywriters, they promote one sponsoring brand or another. With them, ‘You’ – a voice in her head that is the patch’s brand persona and her conformist alter ego – appears.

Through the noise of You talking a variety of different LipService brands, Frith struggles to find her way back to speaking for herself. She believes her tastures – her ability to taste things she touches – are the key. But other elements of this consumerist society are equally interested in tastures for commercial gain.

Tammy Baikie is a translator who is qualified with French and German as source languages and dabbles in Russian. After four years living and working in Germany, she returned home to South Africa where her translation career has continued with advertising and communications as her field of specialisation. Tammy attended the SUISS summer writing programme in Edinburgh and completed an MA in Creative Writing at Wits. She was longlisted in the 2010/2011 Fish International Short Story Contest.

Selling Lip Service

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Raymond Suttner’s Inside Apartheid’s Prison an intensely personal struggle memoir

First published by Oceanbooks, New York and Melbourne, and University of Natal Press, Pietermaritzburg, in 2001, Inside Apartheid’s Prison was shortlisted for the Sunday Times Alan Paton award in 2002.

In the public imagination the struggle that saw the end of apartheid and inauguration of a democratic South Africa is seen as one waged by black people who were often imprisoned or killed for their efforts. Raymond Suttner, an academic, is one of a small group of white South Africans who was imprisoned for his efforts to overthrow the apartheid regime.

He was first arrested in 1975 and tortured with electric shocks because he refused to supply information to the police. He then served eight years for underground activities for the African National Congress (ANC) and South African Communist Party (SACP).

After his release in 1983, he returned to the struggle and was forced to go underground to evade arrest, but was re-detained in 1986 for 27 months; 18 of these being spent in solitary confinement.

In the last months of this detention Suttner was allowed to have a pet lovebird, which he tamed and used to keep inside his tracksuit. When he was eventually released from detention in September 1988 the bird was on his shoulder.

Suttner was held under stringent house arrest conditions, imposed to impede further political activities. He however defied his house arrest restrictions and attended an Organisation for African Unity meeting in Harare, where he remained for five months. Shortly after his return to SA, when he anticipated being re-arrested, the state of emergency was lifted and the ANC and other banned organisations were unbanned.

The book describes Suttner’s experience of prison in a low-key, unromantic voice, providing the texture of prison life. This ‘struggle memoir’ is also intensely personal, as Suttner is not averse to admitting his fears and anxieties.

The new edition contains an afterword where Suttner describes his break with the ANC and SACP. But he argues that the reasons for his rupturing this connection that had been so important to his life were the same ethical reasons that had led him to join in the first place. He remains convinced that what he did was right and continues to act in accordance with those convictions.

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Malebo Sephodi’s memoir, Miss Behave, challenges society’s beliefs about what it means to be an obedient woman

Upon encountering historian Laurel Thatcher Ulrich’s quote, ‘well-behaved women seldom make history’, Malebo Sephodi knew that she was tired of everyone else having a say on who and what she should be.

Appropriating this quote, Malebo boldly renounces societal expectations placed on her as a black woman and shares her journey towards misbehaviour.

According to Malebo, it is the norm for a black woman to live in a society that prescribes what it means to be a well-behaved woman. Acting like this prescribed woman equals good behaviour.

But what happens when a black woman decides to live her own life and becomes her own form of who she wants to be? She is often seen as misbehaving.

Miss-Behave challenges society’s deep-seated beliefs about what it means to be an obedient woman. In this book, Malebo tracks her journey on a path towards achieving total autonomy and self-determinism.

Miss-Behave will challenge, rattle and occasionally cause you to scream ‘yassss, yassss, yassss’ at various intervals.

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“I had to trust that I was able to hear his voice clearly” – Alison Lowry on posthumously completing Gerald Kraak’s Shadow Play

In the early evening I pulled up outside The Eyrie. The gate was open. I stepped through the space in the creeper-covered fence, expecting to find everything as usual, the kitchen door open, the scent of curry coming from inside and a strain of Coltrane drifting down to the pear orchard. Except that the house was gutted. The smoke I had smelled on the road, that I had put down to sundown cooking in the township, was suddenly and pungent. This was a different kind of smoke. I stood and stared. My feet would not move, forward or back.

When confronted with his call-up papers for the apartheid army, with his fellow student activists either scattered or in jail, Matthew chooses exile in Europe.

In Amsterdam, he reconnects with his friend Oliver, who is studying music there. As he falls into a different rhythm of life, as contended as he is in a loving relationship and a job in a music store, the pull of his homeland never leaves him.

When he receives an unexpected call from a former activist comrade, he makes a decision that will put at risk everything he has built in his new life. And when he meets Mandla for the first time, he knows there will be no going back.

Mandla went into exile long before ’76. After undergoing military training for the movement in Russia, and working as an operative in different African countries, he is infiltrated back into SA through Swaziland in order to fulfil and important mission.

His comrade and cover is a white graduate student, Rachel, who is simultaneously conducting research for her studies in a rural area where local communities are being systematically removed from their ancestral land and forced into poverty and degradation.

Theirs becomes a rare and precious friendship, tender and intimate. An unwelcome visitor disrupts their lives, however, and threatens their mission, causing damage and uncertainty in an already fragile relationship.

Editor’s note:

Gerald Kraak’s intention was that Shadow Play would be the middle volume in a trilogy, but his untimely death while he was writing the book meant that this would not be realised. As I understood it from those who were close to him, especially friends in an informal writing group where their various works in progress would be discussed and chapters shared, his intention was to bring the stories of Matthew, Oliver, Mandla and Pru to conclusion in present-day South Africa. It was also his intention that each novel would be a free-standing work.

The acclaimed first book, Ice in the Lungs, for which Kraak was joint winner of the European Union Literary Award, led the way. At the time of its publication in 2006 it was hailed as an important contribution to South African literature and the book flagged Kraak as a strong, new, reflective and challenging voice.

The themes he explored and would continue to explore in Shadow Play are universal ones – identity, belonging, difference, sexuality, acceptance, betrayal – ordinary in the naming but extraordinary from the pen of a writer as subtle and as sensitive as Kraak.

The political environment in South Africa during the period covered in Shadow Play – late 70s and early 80s – for anyone opposing the regime’s apartheid laws was one of repression, punishment, torture and death. The liberation struggle was largely fought underground and directed from countries abroad. If you were a young white male, conscription into the apartheid army was not a choice.

Many activists, like Kraak himself, chose exile rather than be called up to serve an illegitimate regime. His own years of exile were spent in Amsterdam and it is to this city that Matthew travels when he makes the same choice. It is where Shadow Play begins and where the book is largely set.

When Kraak’s literary executor approached me with the unusual request to complete his unfinished novel and to see it through to publication, I was intrigued, but I was hesitant.

As an editor, I spend much of my working day inside the heads and behind the words of writers. It is a sacred place, one in which I always try to tread lightly and with respect. Trust between writer and editor is key to a relationship that is perhaps more intimate than any other. The primary task of a fiction editor, in my view, is to listen. To listen to the words, to the voices who might speak them, to the author who has something to say but might not yet be saying it as effectively as he could. Then, preferably, to discuss in person, listen some more, read many drafts, make careful suggestions, and offer hopefully useful feedback throughout the process. It is a process that is animated by a continual two-way conversation between writer and editor.

It is not the editor’s footprints one wants to see on a novel in the end. The editor’s personal satisfaction lies elsewhere.

With Shadow Play, instead of those conversations, and the drafts that would usually take shape as a result of them, I had silence. This meant that I would have to listen extra carefully and pay a different kind of attention to my author.

Shadow Play was unfinished in many ways. I took from the executor a couple of hard copy volumes, a flashdrive, and early and later notes, some typed, some scribbled in pen, often not very legibly, and by different hands. It wasn’t easy to discern which of the hard copies was the latest version, and the versions on the flashdrive were different too. In addition, the hard copy had coloured stickers, notes to self, notes from other readers, admonitions, reminders, instructions to return to a sectionanother time, sections scored through with frustrated pencil lines, and much else.

In other words, a somewhat typical stage in a writer’s journey. There was a present-day storyline, which was clearly thought out, but also a back story, which needed to intersect with the present day but missed it on several marks – a timeline that was complicated and a trajectory that was in danger of disappearing or turning back on itself and getting tangled in unpickable knots.

I sensed that this back story had been the more troubling challenge for Kraak, because it had not been fully reconciled or imagined; it was the story that elicited most of the ‘notes to self’. It began but it did not end. It meandered in the middle. The voice was tentative but it was potentially the underlying strength and the pivotal protest song in the novel. It was the parallel stories of exile, subterfuge, ideology and shared by separate lives of Matthew and Mandla that were the key, I believed, to unlocking and presenting a powerful and compelling narrative.

In the absence of Kraak himself to guide or admonish me, in the end I had to trust that I was able to hear his voice clearly, to interpret his intentions, and that in crafting it to the best of my ability I have been true to the spirit of the novel and have done the author justice.

I have done my best to inhabit his world and to reflect it back to his readers in the way he wanted it to be seen. If there are footprints to be discerned, I hope they are not mine. I hope they are Mandla’s, making his way home by starlight through the treacherous elephant grass across the Swaziland border, and Matthew finding his own way back to his homeland via the cobbled streets of Amsterdam in the chill of an early spring. – Alison Lowry, Johannesburg, January 2017

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Ice in the Lungs

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Book launch – Spy: Uncovering Craig Williamson by Jonathan Ancer

Join author Jonathan Ancer in conversation with author, journalist and tweet writer, Gus Silber discussing Craig Williamson, the apartheid ‘super-spy’ turned killer.

Event Details

  • Date: Wednesday, 26 April 2017
  • Time: 5:30 PM for 6:00 PM
  • Venue: Love Books, The Bamboo Lifestyle Centre, 53 Rustenburg Road, Melville, Johannesburg. | Map
  • RSVP: Savannah Lucas, Jacana Media,, 011 628 3200

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Ronnie Kasrils’s Alan Paton Award-winning book The Unlikely Secret Agent published in French

nullThe Unlikely Secret Agent

Jacana Media is delighted to announce that The Unlikely Secret Agent by Ronnie Kasrils, recipient of the 2011 Sunday Times Alan Paton Award, has just been published in French by Mardaga Publishing.

On hearing the news of the French edition, author Ronnie Kasrils had this to say: “I am particularly delighted that this book about an unsung heroine of South Africa’s national liberation struggle is appearing as a French-language publication.

“The anti-fascist resistance in Europe during World War Two has resonances in this book about a daring young woman who was prepared to sacrifice her freedom to a just cause. I believe French-speaking people of all ages will be inspired by this Scots-born woman who grew up in South Africa and became the first female operative in the clandestine armed struggle under Nelson Mandela’s command.”

Written after the death of his wife in 2009, The Unlikely Secret Agent tells the story of Eleanor Kasrils, one of the few white South African women to engage in armed struggle against the apartheid regime. A story written with humility and a pride that the reader can only share.

Ronnie’s response to Eleanor’s sudden death last year at home in South Africa was to write this extraordinary book at breakneck speed. It is a love story, a historical document of great importance, and a terrific tale of a clandestine success.

- Journalist and writer Victoria Brittain

A poignant and beautiful book.

- James McAuley, Washington Post

This “little” book about an “ordinary” woman with the heart of a lioness confirms the truth that our freedom was not free. From its pages rings out another truth that among the outstanding heroines and heroes of the South African struggle were those who did not set out to perform heroic deeds. These are the heroic combatants for freedom like the Unlikely Secret Agent, Eleanor Kasrils, the subject of this engrossing “little book”, who did the equally “little” things without which victory over the apartheid regime would have been impossible.

- Former President of the Republic of South Africa Thabo Mbeki

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